publications 

OF   THE 

1flniversit\>  of  Pennsylvania 


SERIES  IN 

Philology  and  Literature 


VOLUME  XII. 


THE   ROYALL   KING 

AND 

LOYALL  SUBJECT 


WRITTEN    BY 


THOMAS  HEYWOOD 

REPRINTED  FROM  THE  QUARTO  OF  1637 
AND  EDITED  WITH  INTRODUCTION  AND  NOTES 


KATE  WATK1NS  TIBBALS 

Late  University  Fellow  in  English,  University  of  Pennsylvania 


Published  for  the  University 
PHILADELPHIA 

1906 

THB  JOHN  C.  WINSTON  Co.,  Selling  Agents, 
j  006-16  Arch  Street,  Philadelphia   Pa. 


PREFACE. 

The  only  early  edition  of  The  Royall  King  and  the  Loyall 
Subject  known  to  exist  to-day  is  that  of  1637,  in  quarto.  It 
was  printed,  then,  during  the  life  of  Heywood,  but  it  is  at 
least  doubtful  whether  he  gave  his  consent  to  its  publication. 
There  is  no  preface  or  address  to  the  reader,  such  as  we 
find  in  the  plays  printed  under  Hey  wood's  supervision.  The 
printing  is  not  faultless  but  it  cannot  be  said  to  be  unusually 
careless.  The  quarto  from  which  this  reprint  of 
the  play  is  taken  is  in  excellent  preservation.  The 
tops  of  the  title  page  and  the  next  leaf  (A3),  containing  the 
Prologue  to  the  Stage  and  the  Dramatis  Personae,  have  been 
torn,  but  these  are  the  only  mutilations,  and  in  each  case,  the 
injury  is  very  slight.  Copies  of  the  quarto  would  seem  to 
be  fairly  numerous — there  are  several  in  the  British  Museum 
— but  I  have  been  able  to  obtain  no  other  for  purposes  of 
comparison.  It  is  possible  that  variations  in  different  copies 
of  the  quarto  may  explain  some  of  the  radical  differences 
between  the  readings  of  the  editions  where  such  are  not  noted 
as  emendations  by  the  editors.  (See,  for  instance,  the  note 
on  "Let"  III,  191,  and  Collier's  reading  for  IV,  124-125.) 

The  three  modern  editions  of  the  play  are:  (1)  that  of 
Charles  Wentworth  Dilke,  in  Volume  VI  of  Old  English 
Plays,  a  supplement  to  Dodsley,  London,  1815.  (pages  219- 
322 )1  (2)  J.  Payne  Collier,  Shakespeare  Society,  London, 
1850.  (The  Woman  Killed  with  Kindness,  is  also  included.) 
(3)  The  play  in  the  complete  edition  of  The  Dra- 
matic Works  of  Thomas  Heywood,  published  by  John  Pear- 
son, London,  1874.  The  two  earlier  editions  are  modernized 
in  spelling  and  punctuation,  and  somewhat  freely  emended. 

1  Collier  does  not  seem  to  have  known  Dilke's  reprint.     He  calls  his 
own  editions  the  first  since  1637. 

(3) 


4  Preface. 

Of  the  two,  Dilke's  is  the  more  accurate,  though  there  are 
occasional  bad  misprints.  The  Pearson  edition  is  fairly 
exact,  attempting  as  it  does  to  reproduce  the  spelling  and 
punctuation  of  the  Quarto;  but  in  that,  too,  misprints  and 
unnoted  emendations  occur. 

The  present  edition  aims  to  reproduce  the  Quarto  as 
exactly  as  possible,  and  at  the  same  time  to  embody  all  the 
previous  work  of  correction  and  emendation.  No  attempt 
has  been  made  to  record  the  variations  in  spelling  in  the 
editions  of  Dilke  and  Collier — since  they  are  modernized 
throughout — nor  in  punctuation,  unless  the  sense  is  altered 
thereby.  The  notes  of  all  three  editions  are  incorporated, 
with  ascription  to  the  earliest  in  which  they  occur.  Pearson 
adopts  freely  from  both  Dilke  and  Collier,  without  quotation 
marks,  or  acknowledgement  of  indebtedness. 

The  three  editions  have  been  carefully  compared  with 
each  other  and  with  the  Quarto,  and  all  emendations  of  word 
or  phrase  are  recorded  at  the  foot  of  each  page.  Longer 
explanatory  and  illustrative  notes  are  relegated  to  the  end 
of  the  play,  that  the  text  may  be  left  as  clear  as  possible. 
The  lines  are  numbered  according  to  the  printing  of  the 
Quarto,  which  includes  in  its  numbering,  stage  directions, 
and,  indeed,  everything  except  the  title  at  the  beginning. 
The  numbering  is  by  acts,  Prologue  and  Epilogue  being 
counted  separately.  The  quarto,  a  reprint  of  which  is  here 
presented,  is  the  property  of  Professor  F.  E.  Schelling,  to 
whom  grateful  acknowledgment  is  herewith  made,  not  only 
for  the  loan  of  the  book,  but  for  constant  encouragement  and 
assistance  in  the  task  of  preparing  it  for  republication. 


THE  KOYALL  KING  AND  THE  LOYALL  SUBJECT. 


The  Royall  King  and  the  Loyall  Subject  may  claim  an 
especial  interest  from  students  for  at  least  two  reasons: 
first,  because  it  furnishes  an  excellent  illustration  of  the 
ease  with  which  the  playwrights  of  the  great  period  of  the 
English  drama  converted  a  story  from  a  foreign  source  into 
a  thoroughly  English  play ;  and  second,  because  it  gives  them 
an  opportunity  to  compare  the  method  of  a  realistic  poet 
with  that  of  a  romanticist  working  on  the  same  theme.  More- 
over, certain  questions  arise  in  connection  with  this  play, 
to  which  scholars  have  given  varying,  and  sometimes  con- 
tradictory answers.  Of  these  questions,  the  following  are 
perhaps  the  chief:  Who  wrote  The  Royall  King?  If 
Thomas  Heywood,  as  the  earliest  edition,  published  in  his 
life-time,  asserts,  did  he  work  alone?  or  did  he  have  in  it 
only  a  "main  finger"  ?  Is  it  possible  that  we  have  a  record 
of  this  play,  otherwise  unmentioned,  in  Henslowe's  Diary 
under  the  name  of  "Marshatte  Oserecke"?  In  setting  forth 
a  new  edition  of  this  play,  and  one  that  aims  to  be  fuller 
and,  if  possible,  freer  from  faults,  than  the  three  modern 
reprints  that  have  preceded  it,  it  seems  proper  to  reconsider 
these  questions,  and  to  go  into  the  matter  of  the  source  of 
the  story,  and  its  analogues  in  other  plays,  a  little  more 
fully,  than  has  yet  been  done.  This,  then,  will  be  the  attempt 
of  the  Introduction. 

I.  The  Royall  King  and  the  Loyall  Subject  is  a  sort  of 
pseudo-chronicle  play,  dealing  with  the  relations  between 
a  king  and  his  High  Marshal,  or  chief  minister.  Neither 
king  nor  marshal  is  named,  and  it  is  improbable  that  a 
parallel  for  the  story  could  be  found  in  any  English  chronicle, 

(5) 


6  The  Royall  King  and  the  Loyall  Subject. 

or  history.1  Indeed,  the  source  is  quite  other,  as  we  shall 
see.  The  spirit  of  the  play  is  intensely  English  and,  at  least 
in  its  minor  scenes,  realistic.  The  foreign  material  has  been 
almost  completely  transformed  into  an  English  equivalent. 
This  change  of  atmosphere  is  due,  not  only  to  change  in  the 
names  and  aspects  of  the  characters,  and  to  references  to 
English  places,  persons  and  customs,  but  also,  and  chiefly,  to 
scenes  and  conversations  quite  impossible  in  the  oriental 
original  of  the  story.  These  are  of  course,  mainly  those 
of  the  minor  characters :  such  as  the  short,  uncorrelated  scene 
between  the1  Clown  and  the  Welshman,  the2  riot  in  the 
Ordinary  and,  indeed,  most  of  the  scenes  where  the  Captain 
and  his  followers  appear. 

The  Englishing  of  the  scene  and  characters  of  the  play 
has  an  important  bearing  on  the  question  of  its  date,  the 
latter  being  determinable,  in  the  absence  of  direct  evidence, 
only  by  inference.  The  date  of  our  only  early  edition,  in 
quarto,  is  1637.  The  Epilogue  to  the  Reader  acknowledges 
that  the  play  was  old  at  the  time  of  its  publication,  and 
refers  it  back  to  the  period  when3  "rime,"  "doublets  with 
stuft  bellies  and  big  sleeves,  And  those  trunk  hose  which 

1  Dilke,  in  his  Introduction  to  the  play,  endeavors  to  place  its  action 
in  the  reign  of  an  actual  king  of  England.  He  says:  "Who  was  the 
sovereign  depicted  in  this  drama,  does  not  seem  absolutely  certain; 
but  as  the  first  Richard  and  the  first  Edward  were  the  only  kings  of 
England  who  personally  carried  their  arms  into  Palestine,  one  of  them 
must  be  supposed  to  be  meant  by  our  poet;  and  as  the  Prince  of  England 
is  one  of  the  persons  in  the  drama,  this  circumstance  seems  to  confine 
it  to  the  latter.  The  Marshal,  however,  who  here  seems  to  entertain 
as  high  a  notion  of  a  subject's  passive  obedience  as  patient  Grisild 
of  conjugal  non-resistance  (see  "The  Clerke's  Tale"  in  Chaucer),  agrees 
but  ill  with  the  character  of  Bigod,  the  Marshal  of  England  in  that 
reign,  who  flatly  refused  to  serve  under  any  other  than  the  king  in 
person,  and  who,  on  Edward's  swearing  by  the  eternal  God  that  he 
should  either  march  or  be  hanged,  swore  by  the  same  oath  that  he  would 
neither  march  nor  be  hanged." 

'Act  I,  104. 

1 II,  285. 

»Ep.  8,  10. 


The  Royall  King  and  the  Loyatt  Subject.  7 

now  the  age  doth  scorn,"  were  all  in  fashion.  Ward,  in  his 
English  Dramatic  Literature,  II,  560-561,  comparing  with 
Fairholt's  Costume  in  England,  page  207,  judges  the  time 
of  writing  to  have  been  "about  the  close  of  the  century." 
With  this  dating  the  character  of  the  play  very  well  agrees. 
For,  only  a  little  later,  i.  e.,  with  the  accession  of  King  James, 
the  vogue  for  things  English,  national,  passed  away,  and  the 
scenes  of  plays  came  to  be  laid  more  and  more  in  foreign 
lands.  That  this  change  was  general  and  marked  can  easily 
be  proved  by  running  over  any  list  of  plays  performed  or 
published  before  the  death  of  Elizabeth  and  comparing  it 
with  a  similar  list  of  Jacobean  dramas.  In  Fletcher's  play, 
The  Loyal  Subject,  licensed  in  1618,  the  scene  is  laid  not 
in  London,  but  in  Moscow,  The  importance  of  this  distinc- 
tion can  hardly  be  overestimated,  and  the  English  tone  of 
the  play  might,  almost  of  itself,  be  considered  evidence 
weighty  enough  to  fix  its  date.  One  or  two  small  details 
may  be  added  by  way  of  corroboration.  The  frequent  em- 
ployment of  rime  has  been  alluded  to.  The  almost  supera- 
bundant use  of  "Ey"  as  a  response,  or,  more  rarely,  as  a 
concessive  particle,  seems  characteristic  of  the  writing  of  the 
close  of  the  century.  According  to  the  New  English  Dic- 
tionary, the  word  appears  suddenly  about  1575,  and  is 
exceedingly  common  about  1600.  Finally,  in  character 
delineation,  and  a  certain  carelessness  in  the  arrangement  of 
its  scenes  the  play  seems  to  show  the  work  of  a  young  man, 
connecting  itself  most  closely  with  what  we  may  call  the 
prentice  work  of  its  author. 

So  much  being  said,  the  question  immediately  arises  "who 
is  its  author  ?"  and  this  question  connects  itself  very  closely 
with  the  discussion  of  the  date.  Former  editors,  Dilke, 
Collier,  and  the  editor  of  the  Pearson  edition  of  Heywood's 
works,  appear  never  to  have  doubted  that  Heywood  and 
Heywood  alone  was  the  author  of  The  Royall  King  and  the 
Loyall  Subject.  The  play  is  not  mentioned  in  the  Stationers' 
Register,  or  in  Henslowe's  Diary.  In  the  latter,  however. 


8  The  Royall  King  and  the  Loyall  Subject. 

the  following  entries  occur:1  "Lent  unto  the  companye,  the 
20  of  septmbr  1602,  to  paye  unto  Mr  Smythe,  in  ptc  of  pay- 
ment of  the  Boocke  called  marshalle  Oserecke,  some  of 
iij  li."  "Pd  unto  Thomas  Hewode,  the  20  of  septmbr  1602, 
for  the  new  adicyons  of  cuttyng  Dicke  some  of  xx  s."  "Pd 
unto  Thomas  Hewode,  the  30  of  septmbr  1602,  in  fulle 
payment  for  his  boocke  of  Oserecke,  the  some  of 
iij  li."  "Pd  at  the  apoyntment  of  the  compayne,  the  3  of 
novmbr  1602,  unto  the  tayller,  for  the  mackynge  of  the 
sewte  of  Oserecke,  the  some  of  xxvj  s."2  It  has  been  sug- 
gested by  Fleay8  that  this  play  called  "Marshalle  Oserecke," 
of  which  nothing  further  is  known,  may  be  identical  with, 
or  at  least  an  early  form  of  The  Royall  King  and  the  Loyall 
Subject,  in  which  a  Marshal  is  the  hero.  In  this  case,  we 
should  have  "Mr  Smythe"  and  Heywood  collaborating,  and 
the  date  of  the  composition  of  the  play  would  be  before  the 
end  of  September,  1602.  The  question  hardly  seems  capable 
of  settlement.  In  no  part  of  The  Royall  King  and  the  Loyall 
Subject  is  the  name  of  the  Marshal  mentioned.  As  will  be 
seen  later,  the  source  of  the  plot  is  an  oriental  story,  its 
hero  Ariobarzanes ;  from  that,  then,  we  derive  no  help.  More- 
over, it  seems  at  least  possible,  from  the  insertion  of  the  item 
concerning  the  "new  adycyons  of  cuttyng  Dicke"  between  the 
two  memoranda  of  "Oserecke"  without  mention  of  the  play 
to  which  the  addition  was  made,  that  this  "cuttyng  Dicke" 

1  The  Diary  of  Philip  Henslowe,  ed.  J.  P.  Collier  ( Shakes.  Soc. ) ,  1845, 
p.  240. 

2  The  same,  p.  243. 

*  Chronicle  of  the  English  Drama,  1,  300.  "It  was,  I  feel  sure,  the 
Marshal  Osric  of  1602,  Sept.,  by  Heywood  and  Went.  Smith,  rewritten 
in  consequence  of  the  revival  of  Fletcher's  Loyal  Subject,  1633,  Nov. 
The  bar  and  scaffold  'for  the  play  of  Beroume'  are  entered  in  Henslowe 
immediately  after  this  play."  (This  is  not  quite  true,  three  entries 
intervene.)  "In  V.  2,  'a  bar*  is  set  out,  and  the  King  calls  for  'a  scaffold,' 
which  was  no  doubt  also  set  out  to  increase  the  comedy  of  the  ending, 
where  a  tragedy  was  expected.  There  is  no  note  of  'Berowne'  in  Malone's 
trustworthy  extracts  (Variorum,  III,  327).  Is  this  another  forgery  of 
Collier's?" 


The  Royall  King  and  the  Loyall  Subject.  9 

represented  part  of  Heywood's  share  in  "Marshalle 
Oserecke,"  in  which  case  we  should  be  quite  sure  that  it  was 
a  distinct  play  from  this  of  ours,  since  no  such  character 
appears  in  the  Royall  King. 

It  may  not  be  amiss,  at  this  point,  to  call  attention  to  a 
slight  want  of  coherence  in  Mr.  Fleay's  statements  with 
regard  to  this  play.  He  mentions  as  marks  of  alteration  in 
the  play,  "besides  the  removal  of  rhyming  words,  by  altera- 
tion and  transposition,  the  substitution  of  the  name  Katha- 
rine for  Margaret,  the  transference  of  the  name  Cock  from 
the  Corporal  to  the  Clown,  and  the  expunging  of  Lord 
Lacy  altogether.  All  this  we  learn  from  the  Dram.  Pers. 
which  have  not  been  rewritten."  These  sentences  follow 
that  in  which  he  says:  "It  was,  I  feel  sure,  the  Marshal 
Osric  of  1602,  Sept.,  by  Heywood  and  Went.  Smith,  re- 
written in  consequence  of  the  revival  of  Fletcher's  Loyal 
Subject,  1633,  Nov."1  Both  these  statements  seem  reason- 
able, though  they  lack  proof,  and  the  first  is  certainly  a  good 
way  of  accounting  for  the  discrepancies  between  the  names  in 
the  Dramatis  Personae  and  those  used  in  the  play.  What 
Mr.  Fleay  fails  to  make  clear  is  why,  if  we  have  here  the 
old  original  name  list  for  a  play  called  Marshal  Osric,  this 
name  is  not  to  be  found  in  the  list.  Either  the  list  is  not 
the  old  list,  or  the  Marshal  had  no  other  name,  at  the  first 
appearance  of  the  play,  or,  finally,  we  have  the  curious  situa- 
tion of  a  play  named  for  its  hero,  who  is,  in  the  Dramatis 
Personae,  and  the  play  itself,  nameless ! 

If  we  turn  from  these  moot  points  of  external  evidence, 
to  learn  what  the  play  itself  can  teach  us  of  its  authorship, 
we  have  of  course  to  consider  the  possibility  of  a  revision, 
such  as  Mr.  Fleay  insists  upon,  that  would  have  wiped  out 
all  traces  of  a  collaboration  in  the  earliest  form  of  the  play. 
As  it  has  come  down  to  us,  the  Royall  King  certainly  exhibits 
throughout  all  the  characteristic  traits  of  Heywood's  style, 
the  easy,  continuous  flow  of  his  verse,  his  multiplicity  of 

1  Eng.  Dram.,  I,  300. 


10  The  Royall  King  and  the  Loyall  Subject. 

puns  and  plays  with  words,  and  his  occasional  real  power  of 
emotional  expression.  Heywood's  style  has,  moreover, 
another  characteristic  not  observable  I  think,  to  such  a 
degree,  in  any  other  dramatist  of  his  time:  that  is,  his  way 
of  dropping  pentameter  lines  with  apparent  unconscious- 
ness, into  the  midst  of  what  he  evidently  intended  to  be 
purely  prose  passages.1  It  is  as  if  the  rhythm  of  his  verse 
had  taken  such  hold  upon  him  that  he  could  never  quite  rid 
himself  of  it,  even  when  he  wanted  to  speak  the  plain  prose 
of  clown  or  servant,  or  common  soldier.2  The  Royall  King 
furnishes  many  examples  of  this  trait,  but  they  can  be 
paralleled  in  almost  any  of  the  undoubted  plays  of  Heywood. 
No  one  knows  with  certainty  who  the  "Mr  Smythe"  men- 
tioned by  Henslowe  was,  though  Mr.  Fleay  takes  it  for 
granted  that  he  was  Wentworth  Smith.  An  extant  play  by 
"W.  Smith,"  The  Palsgrave3  shows  marked  differences  of 
style  and  rhythm,  when  compared  with  the  Royall  King  and 
with  Heywood's  undoubted  work.  Smith's  verse  is  mechan- 
ical and  stiff,  consisting  almost  exclusively  of  decasyllabic, 
end-stopped  lines,  in  contrast  with  the  freedom  of  rhythm 
and  phrasing  that  Heywood  claims.  His  prose  is  plain  prose, 
with  no  trace  of  the  half-rhythmic  character  of  Heywood's. 
If  this  play  be  the  work  of  the  "Mr.  Smythe"  mentioned  in 
Henslowe,  that  author,  we  may  be  fairly  certain,  had  no  part 
in  the  extent  form  of  the  Royall  King  and  the  Loyall  Subject. 
On  the  slender  evidence  now  produceable,  then,  I  should  be 
inclined  to  reject  the  identification  of  "Marshalle  Oserecke" 
with  the  present  play,  and  assign  the  latter  to  a  year  not 
later,  at  the  utmost,  than  1603. 

II.     Let  us  turn,  now,  to  the  story,  or  plot,  of  the  Royall 
King  and  the  Loyall  Subject,  to  that  of  Fletcher's  Loyal 

1  See  A  Woman  Killed  with  Kindness,  Pearson's  Heywood,  II,  118,  136. 
Fair  Maid  of  the  West,  pt.  II,  275,  "In  your  time  have  you  scene  a 
sweeter  creature?"  etc. 

'Act.  I,  484;  II,  97-98,  127,  311;  III,  209;  IV,  191,  545. 

*  The  full  title  of  the  play,  printed  in  1615,  is,  The  Hector  of  Germany, 
or  The  Palsgrave,  Prime  Elector. 


The  Royall  King  and  the  Loyall  Subject.  11 

Subject1  which  has  so  often  been  mentioned  in  connection 
with  our  play,  and  to  an  examination  of  the  source  of  the 
two  stories.  A  more  detailed  comparison  of  the  incidents 
of  the  two  plays  will  follow. 

A  "Martiall"  of  England,  having  grown  to  great 
height  of  favor  with  his  king,  excites  the  envy  of 
two  Lords,  who  plot  to  overthrow  him.  They  slander 
him  to  the  King,  making  his  magnanimity  appear  pride  and 
ambition.  The  King,  listening  to  their  insinuations,  de- 
grades him  and  dismisses  him  from  his  offices.  He  retires 
to  his  country  estate  and  the  society  of  his  two  daughters. 

The  King,  desiring  to  test  his  subject's  boasted  loyalty  to 
the  utmost,  commands  him  to  send  his  fairest,  best-loved 
daughter  to  the  court,  to  be  dealt  with  according  to  his  royal 
pleasure.  This  the  Martiall  promises  to  do,  but  sends  instead, 
the  elder  and  less  fair,  who  is,  however,  so  beautiful  as  to 
gain  the  King's  love  and  be  made  his  bride. 

For  some  time  all  goes  well,  but  when  the  Queen  finds  that 
she  is  to  have  a  child,  she  remembers  an  injunction  laid  upon 

1  Dilke,  Introduction:  "It  may  not  perhaps  be  unnecessary  to  remark 
that  Langbaine,  who  has  observed  that  the  plot  of  this  play  extremely 
resembles  that  of  Fletcher's  'Loyal  Subject,'  has  not  pointed  out  the 
source  from  which  the  story  was  derived.  The  'Loyal  Subject'  appears 
to  have  been  acted  in  1618.  The  only  copy  of  the  present  play,  of  which 
the  editor  has  any  knowledge,  is  printed  in  1637,  but  it  is  to  be  observed 
that  it  is  spoken  of  in  the  Epilogue  as  an  old  play,  and  fitted  to  some 
former  season.  It  cannot  therefore,  perhaps,  be  affirmed  with  certainty, 
that  our  poet  was  indebted  to  the  'Loyal  Subject'  for  the  general  outline 
of  his  drama,  though  the  circumstances  of  resemblance  are  such  as 
cannot  easily  be  supposed  accidental;  and  as  the  present  performance 
does  not  appear  to  advantage  on  the  comparison,  one  would  be  glad  if 
it  could  be  proved  to  be  the  original.  The  resentful  jealousy  which 
the  King  only  feigns  in  the  present  play,  is  in  some  degree  felt  in 
the  'Loyal  Subject,'  and  is  naturally  and  satisfactorily  accounted  for; 
and  the  incident  of  the  renewal  of  the  war  with  the  Tartars  gives  a 
degree  of  spirit  and  interest  to  that  play,  to  which  the  present  has 
by  no  means  an  equal  claim;  the  change  of  the  sovereign's  mind  also 
is  well  accounted  for;  but  the  unexpected  anger  which  the  King  assumes, 
almost  compels  the  reader  to  expect  a  most  unjust  and  tragical  issue." 


12  The  Royall  King  and  the  Loyall  Subject. 

her  by  her  father,  in  obedience  to  which,  she  tells  the  King 
that  her  younger  sister,  Katherine,  is  really  the  fairer  and 
better-loved.  The  King,  in  anger,  returns  her  and  her  dowry 
to  her  father,  demanding,  at  the  same  time,  that  Katherine 
be  delivered  to  him.  On  a  plea  of  illness  (an  illness  feigned, 
not  real)  however,  the  Martiall  detains  her  until  such  time 
as  the  Queen's  child  is  born,  and  the  Queen  herself,  recov- 
ered. 

In  regal  state,  the  Queen  returns  to  court,  with  her  sister 
Katherine  as  her  waiting-maid.  So  overjoyed  is  the  King 
at  sight  of  his  first  love,  that  he  forgets  his  wrath  against 
her  father,  reinstates  her  as  his  queen,  and  gives  Katherine  to 
the  Prince,  who  has  loved  her  at  first  sight.  The  Martiall, 
by  special  permission,  now  appears,  bringing  with  him  the 
royal  child,  his  last  and  greatest  gift  to  the  King, — unre- 
quitable, as  he  thinks,  until  the  King  offers  him  the  Prin- 
cess as  his  wife. 

Angered  by  the  restoration  of  their  enemy  to  favor,  the 
plotting  lords  once  more  gain  the  King's  ear,  and  succeed 
in  convincing  him  that  his  Martiall  is  guilty  of  high  treason 
in  the  act  of  refusing  the  Princess'  dower — too  overwhelming 
a  gift  for  his  pride  to  brook.  The  Martiall  is  haled  suddenly 
before  a  court  of  justice, — araigned  and  condemned.  His 
wife,  his  daughters  and  the  Prince  plead  for  him,  apparently 
in  vain,  until  the  King,  suddenly  recognizing  the  difference 
between  him,  honest,  loving  and  loyal  even  unto  death,  and 
his  base  accusers,  (or  in  fulfillment  of  a  preconceived  plan 
to  test  him  to  the  utmost),  reverses  the  sentence,  cancels  his 
doom  and  punishes  his  enemies. 

There  is  an  underplot  of  which  a  Captain  is  the  hero.1 
The  Captain  returns  from  the  King's  wars  ragged  and  appar- 
ently destitute.  He  tests  his  friends  and  acquaintances  in 
all  ranks,  by  appearing  before  them  in  his  rags,  and  finds 
none  to  acknowledge  him  except  the  Lady  Mary  Audley, 
to  whom  he  had  pledged  his  love  before  setting  out  to  the 

1  See  note  on  III,  58,  for  a  comparison  with  Fletcher's  Captain. 


The  Roy  all  King  and  the  Loyall  Subject.  13 

wars.  After  proving  her  loyalty  and  the  hollowness  of  the 
affection  of  all  others,  courtiers  and  followers  (with  the 
exception  of  the  clown)  he  reveals  the  fact  that  he  has 
actually  come  home  rich,  rewards  his  hollow  friends  with 
the  scorn  they  deserve,  marries  the  Lady  Mary  and  rises 
high  in  the  favor  of  the  King. 

III.  Let  us  turn  now  to  the  plot  of  Fletcher's  Loyal 
Subject*  which  is  briefly  this : 

Archas,  the  chief  general  of  the  Duchy  of  Moscow,  having 
been  dishonored  by  the  young  Duke,  has  retired,  on  his 
accession,  to  his  country  seat,  to  live  in  quiet  with  his  daugh- 
ters. An  enemy  appears  suddenly  upon  the  borders  of 
Muscovia.  The  Duke's  favorite,  who  has  been  appointed 
general  to  succeed  Archas,  feigns  illness,  and  will  not  lead 
the  troops.  Nobles  and  people  join  in  a  prayer  that  Archas 
be  restored  to  command.  The  Duke's  sister,  Olympia,  at 
the  Duke's  instigation,  finally  succeeds  in  persuading  him 
to  recall  his  oath,  take  back  his  arms  from  the  temple  where 
he  had  dedicated  them,  and  assume  the  conduct  of  the  war. 

Influenced  by  his  jealous  favorite,  Borosky,  the  Duke 
slights  and  dishonors  Archas  and  his  soldiers  when  they 
return  victorious.  Archas  retires  to  his  estate.  Still 
instigated  by  Borosky,  the  Duke  visits  Archas,  discovers  a 
treasure  intrusted  to  him  by  the  old  Duke,  siezes  it  and 
accuses  Archas  of  peculation  and  dishonesty  in  having  kept 
it  so  long  hidden.  Half  by  whim  and  half  for  punishment, 
he  commands  him  to  send  his  two  daughters  up  to  court,  to 
attend  the  Duke's  sister,  Olympia. 

Meanwhile,  Archas'  son,  "Young  Archas,"  has  been  serving 
Olympia  disguised  as  a  waiting-maid,  and  has  taken  the 
fancy  of  the  somewhat  inflammable  Duke, — whereas  the 
youth  loves  Olympia,  who  finds  herself  drawn  to  him  by 
a  strange  attraction.  She,  misled  by  the  insinuations  of  her 
jealous  women  to  think  that  there  is  a  secret  intrigue  between 

1  The  Works  of  Beaumont  and  Fletcher,  Alex.  Dyce,  Boston,  1854, 
Vol.  I,  914-952. 


14  The  Royall  King  and  the  Loyall  Subject. 

the  Duke  and  Alinda  (Young  Archas),  banishes  the  sup- 
posed waiting-maid  from  court. 

The  Duke  now  summons  Archas  to  court,  and  at  a  ban- 
quet there,  he  has  him  treacherously  siezed  and  thrown  into 
prison.  He  is  accused  of  sacrilege  in  removing  his  conse- 
crated arms  from  the  temple,  a  crime  for  which  death  is  the 
penalty.  The  Duke  has,  however,  no  intention  of  actually 
putting  him  to  death,  desiring  merely  to  prove  his  loyalty. 
The  soldiery,  hearing  of  the  outrage,  storm  the  palace,  while 
Archas  is  undergoing  torture,  administered  by  Borosky 
against  orders.  Archas,  appearing  just  in  time,  harangues 
the  soldiers  and  prevents  them  from  firing  the  palace. 
Borosky  is  imprisoned,  Archas  restored  to  favor  and  tenderly 
cared  for. 

Meanwhile  Young  Archas  returns  in  his  proper  dress. 
The  soldiery,  still  mutinous,  march  away  to  join  forces  with 
the  Tartar.  Archas,  with  some  of  the  nobles  of  the  court, 
goes  out  against  them,  subdues  them  with  scornful  words, 
and  arraigns  their  leader,  his  own  son,  for  treason.  Bring- 
ing him  before  the  Duke,  Archas  purposes  to  slay  him  in 
the  royal  presence,  as  punishment  for  his  disloyal  treachery, 
but  by  the  interference  of  his  brother  Brisky,  who  determines 
to  kill  Young  Archas  unless  Theodore,  the  offending  son,  is 
spared,  his  life  is  saved.  The  deception  in  regard  to  Alinda 
is  now  confessed ;  Young  Archas  weds  Olympia,  the  Duke, 
Honora,  Archas'  elder  daughter,  and  Burris,  the  one  lord 
faithful  to  Archas,  Viola,  his  younger  daughter.  The  play 
ends  with  the  forgiveness  and  release  of  Borosky  by  Archas. 

IV.  The  source  of  the  story  of  the  royal  king  and  loyal 
subject  is  Painter's  Palace  of  Pleasure,  Tome  II,  The  Fourth 
Novel.1  The  story  is  here  quoted  in  Painter's  own  words, 
but  circumlocutions,  long  descriptions,  and  other  irrelevant 
matters  have  been  omitted. 

1  Pointed  out  by  Koeppel  in  the  Appendix  to  Quellen-Btudien  zu  den 
Dramen  Ben  Jonson's,  pp.  133-135.  Translated  through  the  French 
from  a  novella  of  Bandello. 


The  Roy  all  King  and  the  Loyall  Subject.  15 

"Ariobarzanes,  great  steward  to  Artaxerxes  king  of  Persia, 
goeth  about  to  exceede  his  soueraigne  lord  and  maister  in 
curtesie :  where  in  be  conteyned  many  notable  and  pleasaunt 
ckaunces,  besides  the  great  patience  and  loyaltie  naturally 
planted  in  the  sayd  Ariobarzanes." 

"There  was  in  the  kyngdome  of  Persia,  a  kyng  called 
Artaxerxes," — who — "was  estemed — to  be  the  most  liberal 
and  magnanimous  prince  that  in  any  age  euer  raigned.  This 
king  had  a  Senescall  or  steward,  named  Ariobarzanes,  "- 
who — ;"besydes  noble  Linage  and  incomparable  ritches,  was 
the  most  curtious  and  liberal  knight  that  frequented  the  court 
whose  immoderate  expense  was  such,  as  leaving  the  mean — 
he  fel  into  the  vice  of  prodigality,  whereby  he  semed  not 
only  in  curtious  dedes  to  compare  with  the  King,  but  also 
contended  to  excel  him. 

"One  day  the  king  for  his  recreation  called  for  the 
chessebord^Tequiring  Ariobarzanes  to  kepe  him  company. — 
The  king  and  Ariobarzanes  being  sette  downe  at  a  table  in 
the  greate  Hall  of  the  Pallace,  one  right  against  another, 
accompanied  with  a  great  number  of  noble  personages,  and 
Gentlemen  looking  vpon  them — they  began  to  counter  one 
another  with  the  Chesse-men. — Ariobarzanes — coursed  the 
king  to  such  a  narrow  straight,  as  he  could  not  avoid,  but 
within  2  or  3  draughts,  he  must  be  forced  to  receiue  the 
Checke-mate:  which  the  king  perceiuing — besides  his  blush- 
ing, fetched  out  diuers  sighes  whereby  the  standers  by  that 
marked  the  game,  perceiued  that  he  was  dryuen  to  his 
shiftes.  The  Senescall  esypinge  the  kinge's  demeanour, — 
would  not  suffer  him  to  receiue  such  a  soyle,  but  made  a 
draught  by  remouing  his  knighte  backe — ;as  not  only  he 
deliuered  him  from  the  daunger  of  the  Mate,  but  also  lost 
one  of  his  Rockes  for  lacke  of  taking  hede,  whereupon  the 
game  rested  equall. — The  king  thought  that  Ariobarzanes  did 
not  the  same  so  much  for  curtesie  as  to  bynde  his  soueraigne 
lord  and  king  by  benefit  to  recompense  his  subiecte's  like 

'Act  I,  349. 


16  The  Royall  King  and  the  Loyall  Subject. 

behaviour,  which  he  did  not  very  well  like.  Notwithstanding 
the  king  neither  by  signe  or  deede,  ne  yet  in  talke,  shewed  any 
token  of  displesure  for  that  curtesie  done. 

"Not  long  after  the  king — ordayned  a  notable  day  of  hunt- 
ing1— and — with  the  most  part  of  his  Court,  repayred  to 
the  pastyme. — Ariobarzanes  was  one  of  those  noble  men 
which  pursued  the  game.  It  chaunced  that  day  the  kinge 
rode  vpon  a  horse,  thet  was  the  swiftest  runner  in  his  stable, 
which  hee  esteemed  better  than  a  thousand  other. — Thus 
following  with  bridle  at  will,  the  flying  rather  than  running 
beast,  they  were  deuided  far  from  their  company,  and  by 
reason  of  the  king's  spedines  none  was  able  to  follow  him 
but  Ariobarzanes,  and  behind  him  one  of  his  seruants  vpon 
a  good  horse — which  horse  was  counted  the  beste  in  all  the 
court.  And  thus  following  the  chace  with  galloping  spede, 
Ariobarzanes  at  length  espyed  the  horse  of  his  soueraigne 
lord  had  lost  his  shooes  before,  and  that  the  stones  had  sur- 
bated  his  hoofes,  whereupon  the  kyng  was  driuen  either  to 
geue  oer  the  chace  or  else  to  marre  his  horse. — The  Senescall 
did  no  sooner  esype  the  same  but  sodainly  dismounted  from 
his  owne,  caused  his  man  to  deliuer  vnto  him  a  hammer  and 
nailes  (which  for  such  like  chaunces  he  alwayes  carried 
aboute  him)  and  toke  of  two  shoes  from  the  horse  feet  (fore 
feet  ?)  of  his  good  horse,  to  set  vpon  the  kynge's,  not  caring 
for  his  owne  rather  then  the  kinge  should  forgoe  his  pleas- 
ure :  wherefore  hallowing2  the  king  which  was  earnestly  bent 
vppon  the  chace,  tolde  him  of  the  daunger  wherein  his  horse 
was  for  lacke  of  shoes.  The  king  hearinge  that  lighted  from 
his  horse,  and  seying  two  shooes  in  Ariobarzanes  manne's 
hand,  thinking  that  Ariobarzanes  had  brought  them  with 
him,  or  that  they  were  the  shoes  which  fell  from  his  owne, 
taried  stil  vntil  his  horse  was  shod.  But  when  he  saw  the 
notable  horse  of  his  senescall  vnshod  before,  then  he  thought 
that  to  be  the  curtesie  of  Ariobarzanes,  and  so  did  let  the 
matter  passe,  studying  by  lyke  meanes  to  requite  him  with 

lAct  I,  145-260,  357. 
*See  note  on  I,  201. 


The  Royall  King  and  the  Loyall  Subject.  17 

Curtesie,  which  forced  himselfe  to  surmount  in  the  same :  and 
when  his  horse  was  shod,  he  gaue  the  same  to  Ariobarzanes 

in  rewarde. 

"Within  a  few  daies  after  the  king  by  proclamation  som- 
moned  a  solemn  and  pompous  iust  and  tryumph  at  the  tilt.1— 
The  reward  appointed  the  victor  was  a  couragious  and  goodly 
curser" — [with  magnificent  trappings  described  at  great 
length.] —  Among  the  king's  subjects — "of  chief est  fame  the 
kynge's  eldest  sonne  was  the  fyrst  that  gaue  his  name,  a  Gen- 
tlemann  very  valourous. — The  Senescall  also  caused  his  name 
to  be  inrolled. — The  triumphe  begon  and  many  launces  broken 
in  good  order,  on  either  sides  Judgement  was  geuen  generally 
that  the  Senescall  Ariobarzanes  had  wonne  the  prise,  and 
next  vnto  him  the  kinge's  sonne  did  passe  them  all. — But  yet 
it  greued  him  [the  king]  that  the  Senescall  had  the  greater 
advantage,  and  yet  being  a  matter  so  well  knowen  and  dis- 
cerned by  the  Judges,  like  a  wyse  man  he  discembled  his 
countenaunce.  On  the  other  syde,  the  young  Gentleman — 
was  very  sorrowful  for  that  he  was  voyde  of  hope  of  the 
chiefest  honour. — But  the  vertue  and  valour  of  the  Senescall 
did  cut  off  eythers  griefe — who  purposed  to  geue  ouer  the 
honour  atchieued  by  himselfe,  to  leave  it  to  the  sonne  and 
heir  of  his  lorde  and  mayster :  and  yet  hee  knewe  f  ul  wel  that 
those  his  curtesies  pleased  not  the  king,  neuerthelesse  he  was 
determined  to  perseuer  in  his  opinion,  not  to  bereue  the  king 
of  his  glory,  but  onely  to  acquire  fame  and  honour  for  him 
selfe."  So,  "when  he  was  ready  to  encounter — he  let  fal 
his  launce  out  of  his  handes,  and  said  'Farewel  this  curtesie 
of  mine  sith  it  is  no  better  taken.'  The  kinge's  sonne  gaue  a 
gentle  counterbuffe  vpon  the  Placard  of  the  Senescall  and 
brake  his  staffe  in  many  pieces. — Then  Ariobarzanes  departed 
the  listes  and  the  prince,  without  any  great  insistence  wan 
the  prise  and  victory. — The  King  was  displeased  with  these 
noble  dedes  and  curtesie  of  his  Senescall  because  he  thought 
it  not  mete  or  decente  that  a  subject  and  seruant  should  com- 

*Act  I,  261,  358-367;  II,  4-11. 

2 


18  The  Royall  King  and  the  Loyall  Subject. 

pare  with  his  lord  and  mayster  and  therfore  did  not  bare 
him  that  louing  and  chereful  countenaunce  which  he  was 
wont  to  doe,  and  in  the  end  purposed  to  let  him  know  that  he 
spent  his  brayne  in  a  very  great  errour  if  he  thought  to  force 
his  mayster  to  be  bound  or  beneficial  vnto  him,  as  here  after 
you  shall  perceiue. 

"There  was  an  auncient  and  approued  custom  in  Persia, 
that  the  kinges  yerely  did  solemnize  an  Anniversarye  of 
theyr  Coronation  with  great  feast  and  tryumph,  vpon  which 
day  all  the  Barons  of  the  kyngdome  were  bounde  to  repayre 
to  the  courte  where  the  king  by  the  space  of  VIII  dayes 
with  sumptuous  bankets  and  other  feastes  kept  open  house. 
— Vpon  the  Anniversary  day  of  Artaxerxes  coronation1 — 
the  king  desirous  to  accomplish  a  certayne  conceiued  deter- 
mination commaunded  one  of  his  faythful  chamberlaynes 
spedely  to  seeke  out  Ariobarzanes,  which  he  did,  and  telling 
him  the  kinge's  message  sayde  'My  lorde  Ariobarzanes,  the 
king  hath  willed  me  to  say  vnto  you,  that  his  pleasure  is,  that 
you  in  your  own  person,  euen  forthwith  shal  cary  your  white 
steede  and  Courser,  the  mace  of  gold,  and  other  ensignes  due 
to  the  office  of  Senescal  vnto  Darius,  your  mortal  enemy,  and 
in  his  maiestye's  name  to  say  vnto  him  that  the  king  hath 
geuen  him  that  office,  and  hath  clerely  dispossessed  you  there- 
of2. Ariobarzanes — was  like  to  dye  for  sorrowe,  and  the 
greatter  was  his  grief  because  it  was  geuen  to  his  greatest 
enemy.  Notwithstanding,  would  not  in  open  appearance  sig- 
nifie  the  displeasure  which  hee  conceiued  within,  but  with 
mery  cheare  and  louing  countenaunce  answered — '  Do  my 
right  humble  commendations  to  the  king's  maiesty  and  say 
vnto  him  that  like  as  he  is  soueraine  lord  of  all  this  land, 
and  I  his  faythful  subiect,  euen  so  mine  office,  my  lyfe, 
landes  and  goods  be  at  his  disposition,  and  that  willinglye 
I  will  performe  his  best.' — When  he  had  spoken— hee 
rendred  vp  his  office  to  Darius. — And  when  the  king  was  set 

1Act.  II,  112,  137-284;  not  an  anniversary  of  coronation,  but  a  feast 
to  celebrate  the  King's  victories  in  the  wars. 
'Act  II,  173ff. 


The  Roy  all  King  and  the  Loyall  Subject.  19 

Ariobarzanes  with  comly  countenance  sate  downe  among  the 
rest  of  the  lords,  which  sodenlye  deposition  and  deprivation 
did  maruelously  amaze  the  whole  assembly.1  The  king — 
did  marke  and  note  the  countenance  of  Ariobarzanes,  and  to 
attaine  the  ende  of  his  purpose,  hee  began  with  sharpe  wordes 
in  the  presence  of  the  nobilitie  to  disclose  his  discontented 
mind — ;  on  the  other  syde  the  king  suborned  diuers  persons 
diligently  to  espy  what  he  said  and  did.  Ariobarzanes,  hear- 
ing the  king's  sharp  wordes  of  rebuke,  and  stimulated  by  the 
persuasions  of  dieurs  flatterers, — at  length  vanquished  with 
disdayne  brake  the  bridle  of  patience,  began  in  a  rage  to 
complayne  on  the  king:2 — wherefore  faine  he  would  haue 
departed  the  court  and  retired  home  to  his  country,  which 
he  could  not  do  without  speciall  licence  from  the  king." 
[The  King  hearing  his  murmurs  called  him  to  private  con- 
ference, told  him  the  reason  of  his  displeasure,  his  liberality 
and  over-courtesy,  and  permitted  him  to  speak  in  his  own 
defence.]  "  'How  beit  before  this  tyme  I  did  neuer  beleue 
nor  hard  your  grace  ^confesse  that  magnanimity  gentlenes 
and  curtesie  were  vertues  worthy  of  blame  and  correction/  ' 
[The  king  dismissed  the  argument  for  the  time,  to  be  tried 
later  according  to  Persian  laws  and  customs]  "  'In  the  menne 
tyme  thou  shalt  repayre  into  the  country,  and  come  no  more 
to  the  Court  till  I  commaund  thee.'  "3  [Ariobarzanes  depart- 
ed.] "Mynded  to  abyde  and  suffer  all  Fortune,  he  gaue  him- 
selfe  to  the  pastime  of  huntinge  of  Deere  running  of  the 
wylde  Bore,  and  flying  of  the  Hauke.4 — 

"This  noble  Gentleman  had  onlye  two  daughters  of  his 
wife  that  was  deceased,  the  most  beautiful  Gentlewomen  of 
the  countrey.5 — He  was  not  in  his  countrey  resiant  the  space 
of  fower  monethes, — but  one  of  the  kinge's  Haraulds  sente 
from  the  Court,  appeared  before  him  with  message  to  this 

'Act.  II,  198.-204. 

'Act.  II,  235-266. 

'Act.  II,  267. 

4  Act.  II,  384-389. 

'Act.  II,  24-34. 


20  The  Roy  all  King  and  the  Loyall  Subject. 

effecte,  saying  vnto  him1  'My  lord,  Ariobarzanes,  the  king 
my  souerayne  Lord  hath  commaunded  you  to  send  with  me 
to  the  Court  the  fayrest  of  your  two  daughters.' — Ariobar- 
zanes not  well  able  to  conceiue  the  meaning  of  the  king's 
commaundiment, — determined  to  send  his  younger  daugh- 
ter, which  was  not  in  beautie  comparable  to  her  elder  sister, 
whereupon  hee  caused  the  mayden  to  be  sent  for,  and  sayde 
vnto  her  these  words:2  'Daughter  the  king  my  maister  and 
thy  soveraigne  Lord,  hath  by  his  messenger  commanded  me 
to  sende  vnto  him  the  fayrest  of  my  daughters,  but,  for  a 
certain  reasonable  respect  which  at  thys  time  I  purpose  not 
to  disclose,  my  mynde  is  that  thou  shalt  goe,  praying  thee 
not  to  say  but  that  thou  thy  selfe  art  of  the  twain  the  fayrest, 
— but  if  so  be  the  king  doe  beget  thee  with  childe,  in  any 
wise  keepe  close  the  same:  but  when  no  longer  it  can  be 
closely  kept,  then  in  conuenient  time  when  thou  seest  the 
kinge  merily  disposed,  thou  shalt  tell  the  king  that  thy  sister 
is  far  more  beautiful  than  thy  selfe,  and  that  thou  art  the 
younger  sister.'  The  wise  maiden  well  vnderstanding  her 
father's  minde, — promised  to  performe  his  charge,  and  so 
with  the  Haraulde  and  honourable  traine,  he  caused  his 
daughter  to  be  conueyed  to  the  Court. 

— "An  easie  matter  it  was  to  deceiue  the  king  in  the  beauty 
of  that  maiden:  for  although  the  elder  daughter  was  the 
fairest,  yet  this  Gentlewoman  seemed  so  peerless  in  the 
Courte,  that  without  comparison  she  was  the  most  beautifull 
that  was  to  be  found  either  in  Courte  or  countrey.3 

— "The  wife  of  the  king  was  dead  the  space  of  one  yeare 
before,  for  which  cause  he  determined  to  mary  the  daughter 
of  Ariobarzanes.  When  the  kinge  sawe  this  Gentlewoman,  he 
iudged  her  to  be  the  fairest  that  euer  he  saw4 — whom  in  the 

1  Act  II,  407-536. 

2  Act  II,  425-28.    Here,   however,    it   is   the   best-loved    and   not   the 
fairest  daughter  that  is  demanded;  but  see  446,  "My  fairest  daughter?" 
490-502. 

3  Act  II,  529;  III,  89-108. 
•  Act  III,  93. 


The  Roy  all  King  and  the  Loyall  Subject,  21 

presence  of  his  noblemen  he  solemnly  did  marry,  and  sent 
vnto  her  Father  to  appoynct  the  Dowry  of  his  married  Daugh- 
ter out  of  hande,  and  to  returne  the  same  by  that  messenger.1 
When  Ariobarzanes  hearde  tell  of  thys  vnhoped  mariage, 
right  ioyfull  for  that  successe,  sent  vnto  his  Daughter  the 
Dowry  which  he  had  promised  to  geue  to  both  his  Daugh- 
ters.2— The  mariage  being  solemnized  in  very  sumptuous 
and  princely  guise,  Ariobarzanes  sent  to  the  king  the  like 
Dowry  which  before  he  had  sent  him,  with  message  to  this 
effect :  That  for  so  much  as  he  had  Assigned  to  his  Daugh- 
ters two  certayne  Dowries  to  mary  them  to  their  equal  feeres 
and  seeing  that  he  which  was  without  exception,  was  the 
hosbande  of  the  one,  his  duty  was  to  bestow  vpon  his  grace  a 
much  greater  gift,  than  to  any  other  who  should  haue  bene 
his  sonne  in  law  :3  but  the  king  would  not  receive  the  increase 
of  his  dowry  deeming  him  selfe  well  satisfied  with  the  beauty 
and  good  conditions  of  his  new  Spouse,  whom  he  entertayned 
and  honored  as  Queene.4 — 

"In  the  mean  time  she  was  with  childe  which  so  wel  as  she 
could  she  kept  close,  but — as  occasion  serued  she  disclosed  to 
the  king  that  she  was  not  the  fayrest  of  her  father's  daugh- 
ters, but  her  elder  sister  was  more  beautiful  than  she5. — The 
king  was  greatly  offended  with  Ariobarzanes,  and  albeit  he 
loued  well  his  wife,  he  called  his  Harauld  vnto  him — and 
with  him  returned  again  his  new  maried  spouse  vnto  her 
father, — and  willed  him  to  sende  his  eldest  daughter,  and 
he  returned  the  Dowry  which  he  gaue  with  his  younger.6 — 
Ariobarzanes  receyued  his  daughter  and  the  dowry  with  will- 
ing minde,  and  sayd  'Mine  other  daughter  which  the  King 
my  Soueraygne  Lord  requireth  is  not  able  presently  to  go 

1  Act  III,  122,  143,  149-153.   The  King  does  not  send  for  a  dowry. 

2  Act  III,  156-167. 
8  Act  III,  160-167. 

4  Act  III,  169.       The  King  receives  the  dower,  but  cf.  the  action  of 
the  Martiall  in  V,  92-104. 

5  Act  III,  449-506. 

"Act  III,  515-530;  IV,  29-31. 


22  The  Royall  King  and  the  Loyall  Subject. 

with  thee,  bycause  in  her  bed  she  lieth  sicke,  as  thou  mayst 
manifestly  perceiue  if  thou  come  into  her  chamber:  but 
say  vnto  the  king,  that  vppon  my  fayth  and  allegiaunce,  so 
soon  as  she  recouered,  I  will  send  hir  to  the  court.'1 — The 
harauld  seeing  the  mayden  lye  sicke  in  her  bed,  returned  to 
the  king.2 — And  by  the  time  the  yong  Gentlewoman  was 
rysen  from  her  childbed,  the  sister  was  perfectly  whole  and 
had  recouered  her  former  hiewe  and  beauty,  both  which 
beinge  richelly  apparelled,  Ariobarzanes  with  an  honourable 
trayne,  sent  vnto  the  kinge.3 — The  kinge  hearinge  and  see- 
inge  the  liberalyty  of  Ariobarzanes,  accepted  the  same  in 
good  part"  [and  married  the  elder  daughter  to  his  son 
Cyrus]4  "Ariobarzanes  hearinge  these  good  newes,  would 
not  yet  acknowledge  himselfe  to  be  ouercome — ,  and  deter- 
mined to  sende  the  little  childe,  to  the  kinge,  which  so  resem- 
bled the  kinge's  face  and  Countenaunce  as  was  possible." 
[And  having  procured  a  cradle  enriched  with  all  manner 
of  gems  and  ornament,  placed  the  child  therein]  "and 
together  with  the  nourice,  accompanied  with  a  pompous 
trayne  of  Gentlemen,  he  sent  him  to  the  kinge  the  very  time 
that  the  solemne  mariage  should  be  celebrated.5 — When  the 
Cradle  was  discouered,  there  apeared  a  goodly  yong  Chylde, 
Smiling  and  Laughing  vpon  his  father,  the  ioyfullest  sight 
that  euer  his  father  sawe,  and  so  like  vnto  him,  as  the  halfe 
moon  is  lyke  the  proportion  of  the  rest. — ;  The  king  could 
not  be  satisfied  with  the  sight  of  his  child  by  reason  of  the 
great  delight  he  had  to  look  vpon  him. — The  Chylde  agayne 
vpon  the  common  reioyce  made  vpon  him,  but  specially  of 
hys  Father,  with  preaty  motions  and  sweete  laughinges,  rep- 
resentinge  two  smiling  pyttes  in  his  ruddy  cheekes,  crowed 

'Act  IV,  54-117. 

2  Act  IV,  118-132.     Chester  does  not  see  Katherine,  nor  is  she  really 
ill. 

3  Act  IV,  334-351. 
'Act  IV,  380. 

5  Act  IV,  440-464.    The  Martiall  himself  brings  the  child. 


The  Royall  King  and  the  Loyall  Subject.  23 

many  tymes  vpon  his  father,   toyinge   up   and   downe   hys 
tender  handes.1 

"Notwithstanding  seeming  to  be  thus  surmounted,  he  (the 
king)  thought  if  he  did  not  surpasse  this  curtesy,  his  noble 
and  princely  minde  should  be  disgraced :  wherefore  he  deter- 
mined to  vse  a  kind  o.f  magnanimity  thereby  eyther  to  ouer- 
come  Ariobarzanes,  or  else  having  apparent  occasion  alto- 
gether to  fall  out,  and  to  conceyue  a  mortall  malice  agaynst 
him.  The  Kynge  had  a  Daughter  of  the  age  of  21  yeares, 
a  very  fayre  and  comely  Lady  whom  as  yet  he  had  not 
matched  in  mariage.2 — The  kynge  then  purposing  to  excell 
Ariobarzanes,  mynded  by  coupling  hym  wyth  hys  Daughter, 
to  make  him  his  sonne  in  lawe.  Wherefore  he  sent  for 
Ariobarzanes  to  come  vnto  the  Court3  who  vpon  that  com- 
maundiment  came,  and  the  kyng  sayd  vnto  him  'Ariobar- 
zanes, for  so  mutch  as  thou  art  without  a  wyfe,  we  minde  to 
bestow  vpon  thee  a  Gentlewoman  which  not  only  we  well  like 
and  loue  but  also  is  such  a  one  as  thou  thyself  shalt  be  well 
contented  to  take.'  Then  the  king  caused  his  daughter  to 
come  before  him,  and  there  openly  commaunded  that  Ario- 
barzanes should  marry  her:  which  with  seemely  ceremonies 
being  consummate,  Ariobarzanes  shewed  little  ioy  of  the  par- 
entage and  in  appearance  made  as  though  he  cared  not  for 
his  wyfe.4 — The  nobles  of  the  court — greatly  murmured  to 
see  the  obstinacy  and  rudeness  of  Ariobarzanes  towards  the 
kyng  and  the  Fayre  newe  maried  Spouse,  mutch  blaminge 
and  rebukinge  hys  vnkinde  demeanor.5 — Notwithstanding 
the  kynge  did  marke  the  Gesture  and  countenance  of  Ario- 
barzanes and  after  the  Banket,  the  Kynge  in  Solempne  guise 
and  great  Pompe  caused  hys  Daughter  to  bee  accompanyed 
wyth  a  great  Trayne  to  the  Lodginge  of  Ariobarzanes  and  to 

'Act  IV,  465-477.     Heywood   has   nothing   so  charming  as    Painter's 
description  of  the  child. 

2  Act  IV,  499.     The  Princess  is  earlier  introduced  by  H.     Cf.  act  II,  9. 

*  Act  IV,  426.    The  Mar.  sues  to  be  allowed  to  appear  at  Court. 

4  Act  IV,  505,  520-524;    V,  29-33,  41. 

•Act  V.    The  nobles  say  little.    Cf.  Chest.  I,  41. 


24:  The  Roy  all  King  and  the  Loyall  Subject. 

be  caried  with  hir  hir  Pryncely  Dowry,1  where  Ariobarzanes 
very  Honourably  receyued  his  wyfe,  and,  in  the  presence  of 
all  the  Noble  men  and  Barons  hee  doubled  the  Dowry 
receyued  and  the  same  wyth  the  Ten  Thousand  Crownes 
geuen  hym  by  the  kynge,  he  sent  back  agayne.2  This  vnmeas- 
ured  Liberality  seemed  passyng  straunge  vnto  the  kynge,  and 
bredde  in  him  sutch  disdayne  as  doubtful  he  was  whether  to 
yelde  or  to  condemne  him  to  perpetual  Banishment.  An  easy 
matter  it  was  to  perceiue  the  rage  and  furie  of  the  king  who 
was  so  sore  displeased,  as  he  bare  good  looke  and  counte- 
naunce  to  no  man,3 — and  bicause  in  those  dayes  the  Persian 
kings  were  honored  and  reuerenced  as  Gods,  there  was  a  lawe 
that  when  the  king  was  driuen  into  a  furie,  or  had  conceiued 
a  iust  displeasure,  he  should  manifest,  vnto  his  Counsellors, 
the  cause  of  his  anger,  who  afterwardes  by  mature  diligence 
hauing  examined  the  cause  and  finding  the  kinge  to  be 
vniustly  displeased,  should  see  meanes  of  his  appeasing: 
but  if  they  found  his  anger  and  displeasure  to  be  iustly 
grounded,  the  cause  of  the  same,  according  to  the  quality  of 
the  offence,  they  should  punish,  eyther  by  banishment  or 
capital  death,  the  sentence  of  whom  should  passe  and  bo 
without  appeale. — Howbeit  Lawful  it  was  for  the  Kynge  to 
mitigate  the  pronounced  sentence,  eyther  in  al,  or  in  part,  and 
to  diminish  the  payne,  or  clearly  to  assoyle  the  party: 
whereby  it  euidently  appeared — that  the  Kynge's  wyll  if 
he  pardoned  was  meere  grace  and  mercy. — 

"The  Counsellors  when  they  heard  the  reasons  of  the 
Kynge,  sent  for  Ariobarzanes  of  whom  by  due  examination 
they  gathered,  that  in  diuers  causes  he  had  prouoked  the 
Kynge's  displeasure.4  In  the  end,  they  iudged  Ariobarzanes 
worthy  to  lose  his  head  and  for  better  confirmation  of  their 
Judgment  the  Counsellors  alleaged  a  certayne  definitiue  sen- 

1  Act  V,  46-53,  70-76. 

'Act  V,  77,  92-113. 

8  Act  V,  153-189. 

4  Act  V,  217-227,  240-255,  278-280. 


The  Roy  all  King  and  the  Loyall  Subject.  25 

tence  registred  in  their  Chronicles,  whilom  done  by  the  kings 
of  Persia.1  The  cause  was  this:  one  of  the  kyngs  of  that 
Region  went  a  Hauking, — and  with  a  Faucan  to  fly  at  diuers 
game. —  Within  a  while  they  sprang  a  Hearon  and  the 
Kyng  commaunded  that  one  of  the  faucons  which  was  a 
notable  swift  and  soaring  Hauke  should  be  cast  to  the  Hearon 
— ,  and  as  the  Hauke  after  many  batings  and  intercourses 
was  about  to  seaze  vpon  the  hearon,  he  espied  an  Egle:  the 
stoute  Hauke,  seeing  the  Egle,  gaue  ouer  the  fearfull  Hearon 
and  with  swift  flight  flewe  towardes  the  hardy  Egle  and 
fiercely  attempted  to  seaze  vpon  her: — In  the  ende  the 
good  Hauke,  with  her  sharpe  talendes,  agayne  seazed  vpon 
the  Egle's  neck,  and  with  her  beake  strake  her  starke  dead, 
where  withal  she  fel  downe  amid  the  company  that  wayted 
vpon  the  king. — 

Al  the  Barons  and  Gentlemen  highly  commended  and 
praysed  the  Hauke,  affirminge  that  a  better  was  not  in  the 
worlde.2  The  king  spake  not  a  worde,  but  stoode  musing  with 
himselfe  and  did  neyther  prayse  nor  blame  the  Hauke. — 
The  next  day  the  king  caused  a  Gold  Smith  to  make  an 
exceeding  fayre  crowne  of  gold — apt  and  meete  for  the  Fal- 
con's head.3  Afterwards — he  ordayned  that  in  the  market 
place  of  the  Citty  a  Pearche  should  be  erected  and  adorned 
with  Tapestry,  Arras,  and  other  costly  furnitures  such  as 
Prynces  Palaces  are  bedecked  withal.  Thither  with  sound 
of  trumpets  he  caused  the  Faucon  to  be  conueyed,  where  the 
kinge  commaunded  one  of  his  noble  men  to  place  the  Crowne 
vpon  his  head  for  price  of  the  excellent  pray  atcheeved  vpon 
the  Egle.  Then  he  caused  the  hangman  or  common  execu- 
tioner of  the  Citty,  to  take  the  Crowne  from  the  Faucon's 
head,  and  with  the  trenchant  sword  to  cut  it  of.4— 

"This  example  the  Judges  alleaged  against  Ariobarzanes 

*Act  V,  297-317. 
2  Act  V,  305-6. 
"Act  V,  307-310. 
4  Act  V,  313-317. 


26  The  Roy  all  King  and  the  Loyall  Subject. 

and  applying  the  same  to  him,  ordeyned  that  first  Ariobar- 
zanes,  for  his  Magnamity  and  liberal  curtesie  should  be 
Crowned  wyth  a  Laurell  Garland,  but  for  his  great  emulation 
and  continuall  dyuice  to  contende  wyth  hys  Prynce,  and  in 
Liberality,to  show  him  selfe  superior,  his  head  ought  to  be 
stricken  of.1  Ariobarzanes  in  such  maner  behaued  as  no 
sygne  of  Choler  or  Dyspayre  appeared  in  him,  onely  pro- 
nouncing thys  sentence  with  ioyful  cheare  in  the  presence  of 
many:  "Glad  am  I  that  at  length  there  resteth  in  me  so 
mutch  to  be  liberall,  as  I  employ  my  life  and  bloud,  to  declare 
the  same  to  my  Soueraygne  Lorde,  which  right  willingly  I 
meane  to  do,  that  the  World  may  know,  how  I  had  rather 
lose  my  lyfe  than  to  faynt  and  geue  ouer  in  mine  accustomed 
liberality.2 — Then  calling  a  Notary  vnto  him  he  made  his 
will."  [The  terms  of  the  will  are  identical  with  those  in 
the  play.]3 

"The  eight  day  being  come  (for  the  lawe  allowed  that 
space  to  the  condemned)  a  Skaffolde  was  made  in  the  mid- 
dest  of  the  Market  place,"  [to  which  Ariobarzanes  was  led 
royally  robed  and  crowned  with  the  laurel;  then,  divested 
of  his  rich  attire  and  prepared  for  execution.]  "The  king, 
seeing  his  constancy  was  moued  with  pity  and  offered  to  free 
him :'  'if  now  thou  wilt  acknowledge  thyself  vanquished  and 
ouerdome  and  accepte  thy  lyfe  in  gratefull  part,  I  will  par- 
don thee,  and  restore  thee  to  thyne  offyces  and  promotions.'  "4 
[This  offer  Ariobarzanes  humbly  accepted  in  a  long  explan- 
atory speech,  and  remained  the  king's  chosen  counsellor  ever 
after.] 

V.  A  single  perusal  of  the  plots  of  The  Royall  King  and 
the  Loyall  Subject,  and  Fletcher's  Loyal  Subject,  as  outlined 
above,  in  connection  with  the  excerpts  from  the  original  story, 
will  make  clear  the  essential  difference  between  the  two  plays. 

'Act  V,  318-325. 

2  Act  V,  328-332. 

3  Act  V,  340-354. 

4  Act  V,  382-418. 


The  Roy  all  King  and  the  Loyall  Subject.  27 

Heywood  has  taken  the  story  as  he  found  it,  seized  upon  the 
moments  most  important  for  presentation,  condensed  minor 
material  into  description  and  narrative,  and  related  the 
whole  in  the  form  of  speeches  apportioned  to  the  different 
characters.  In  many  cases,  he  has  adopted  almost  the 
exact  words  of  his  author,  altering  only  so  far  as  his  metre 
required.1  To  the  material  thus  obtained,  he  has  added  an 
underplot  carried  on,  for  the  most  part,  in  independent 
scenes,  not  carefully  correlated  with  the  main  thread  of 
the  story.2  Indeed,  until  quite  the  end  of  the  play,  the 
Lady  Mary  Audley  is  the  only  connecting  link  between  the 
Captain's  story,  and  that  of  the  Marshal,  in  which  she  her- 
self takes  a  very  subordinate  part.  Heywood's  additions, 
then,  to  the  original  material  have  been  superimposed,  laid 
on  from  the  outside,  and  are  easily  separable  from  his  bor- 
rowed story. 

Fletcher,  on  the  other  hand,  has  seized  upon  the  underly- 
ing idea  in  the  Persian  tale — that  of  a  subject  whose  supreme 
loyalty  is  tested  by  the  whims  of  a  despotic  master — and  has 
developed  it  after  a  fashion  of  his  own.  He  has  added  him- 
self to  the  borrowed  material  and  the  resulting  transforma- 
tion is  very  much  greater  than  in  Heywood's  case  of  piecing. 
The  orientalism  that  Heywood  did  not  quite  succeed  in  wip- 
ing out  of  his  rendition  of  the  story,  is  in  Fletcher  quite 
gone,  though  his  placing  of  the  scene  might  have  served  as 
excuse  for  its  retention.  The  mention  of  the  student's  gown 
and  the  volume  of  Seneca,  in  the  scene  between  Archas  and 
the  Duke,  shows  how  Western,  how  English,  he  is  in  his 
conceptions,  in  spite  of  his  foreign  names  and  settings. 

A  detailed  study  of  the  two  dramas,  scene  by  scene,  seems 
to  justify  the  belief  that  Fletcher  had  the  Heywood  play 
before  him,  and  that  from  its  faults  of  construction  and 
characterization,  he  profited  in  the  composition  of  his  own 
play.  Certain  scenes  and  situations  not  in  the  oriental 

1  "The  Persian  History",  the  description   of  the   horse-shoe  incident, 
the  will,  the  banquet  scene. 
1  The  story  of  the  Captain. 


28  The  Royall  King  and  the  Loyall  Subject. 

story  find  their  analogues  in  the  Heywood  play,  and  many 
minute  parallelisms  can  be  found  that  seem  to  point  to  a 
conscious  effort  at  improvement  upon  something  that  has 
gone  before.  Let  us  take  up  a  few  of  these. 

Fletcher,  like  Hey  wood,  has  a  banquet  scene1 — suggested, 
doubtless,  in  both  cases,  by  that  in  the  original  story — unlike 
Heywood,  he  has  not  been  content  to  leave  it  at  the  begin- 
ning of  his  action,  but  has  raised  it  into  the  position  of  the 
catastrophe,  when  Archas  is  covered  with  the  black  cloak, 
seized  and  dragged  away  to  imprisonment  and,  as  he  is  led  to 
believe,  to  death.  With  this  scene  Fletcher  has  combined  all 
he  gives  us  of  the  trial, — Archas'  demand  for  the  law  and 
Borosky's  accusation.  The  latter  bears  a  verbal  resemblance 
to  the  accusing  speeches  of  Chester  and  Audley: 

"Laying  aside  a  thousand  petty  matters, 
As  scorns  and  insolencies  both  from  your  self  and  fol- 
lowers 

Which  you  put  first  fire  to  (and  these  are  deadly) 
I  come  to  one  main  cause."2 

The  plottings  of  Clinton  and  Chester  are  paralleled,  or  par- 
odied, by  Fletcher  in  the  machinations  of  Olympia's  wait- 
ing-maids against  "Alinda."  Compare  such  lines  as  these 
with  the  conversations  of  the  lords : 

"Gent.     If  the  wind  stand  in  this  door, 

We  shall  have  but  cold  custom.     Some  trick  or  other 

And  speedily! 

Pet.     Let  me  alone  to  think  on't."3 

Their  thoughts  lead  to  the  banishment  of  Alinda,  on  a 
false  charge,  just  as  the  lords'  plots  do  to  that  of  the  Marshal. 
Fletcher,  then,  has  made  his  underplot,  in  some  points,  the 
shadow  of  the  main  action. 

1  The  Loyal  Subject,  Dyce,  Act  I,  sc.  5,  p.  943. 

2  The  same,  p.  945,  cf .  R.  K.  V,  240-246. 

•L.  S.,  I,  2.  p.  918,  R.  K.  I,  153-163,  IV,  394-398,  428-432,  nearest 
parallel. 


The  Royall  King  and  the  Loyall  Subject.  29 

This  action,  moreover,  is  condensed  and  unified,  in  the 
Loyal  Subject,  by  the  fact  that  the  first  disgrace  of  Archas  is 
due  to  an  old  grudge,  on  the  part  of  the  Duke,  and  results 
at  the  outset,  in  his  resignation  from  office  and  retirement  to 
the  country.  Thus  the  capricious  favor  of  the  Duke  is  ex- 
plained by  the  primary  misunderstanding  of  Archas'  char- 
acter, and  his  desire  to  try  him  "by  a  few  fears"  is  far  more 
natural.  Fletcher  evidently  saw  in  Heywood's  play,  the 
inconsistency  given  to  the  King's  character  by  his  frequent 
reversals  of  the  Marshal's  fate,  and  remedied  it  in  the  best 
possible  way.  It  is  through  a  public  misfortune  that  only 
Archas  can  avert,  that  the  Duke  is  led  to  regret  his  rash  spite, 
and  recall  his  sentence.  Thus  the  return  of  Archas  is  much 
better  motived  than  that  of  the  Marshal,  when,  owing  to  the 
various  marriages  in  act  IV,  the  action  is  apparently  con- 
cluded before  the  catastrophe,  the  trial  and  condemnation  of 
the  Marshal,  has  occurred.1  Fletcher  reserves  the  unions, 
otherwise  quite  parallel  to  those  in  the  Royall  King,  to  their 
rightful  place  at  the  close.2 

Again,  instead  of  a  Captain  who  pursues  his  own  affairs 
quite  independently  of  events  at  court,  Fletcher  has  given 
his  general  a  son,  Theodore,  who  acts  as  mouthpiece  for  his 
father's  injuries,  and  who,  like  our  Captain,  serves  to  point 
out  the  vices  and  follies  of  the  court.  The  moral  lesson 
taught  in  the  coarse  scenes  of  which  the  Captain  is  the  hero, 
is  by  Fletcher  more  closely  interwoven  with  the  action  of 
his  chief  characters,  in  the  scenes  following  the  introduction 
of  Archas'  daughters,  Honora  and  Viola,  to  Court.3  The 
Captain's  followers  have  here  become  Archas'  own  soldiers, 
under  the  command  of  his  son,  Theodore ;  so  they,  too,  seem 
to  have  a  stronger  right  to  their  province  of  comic  relief, 
especially  since,  at  the  close,  having  turned  their  play  to 
earnest,  they  serve  as  the  means  of  bringing  about  the  reso- 

*L.  S.,  I,  5,  p.  922,  R.  K.  IV,  520-524. 
2L.  S.,  V,  7,  p.  951. 

SL.  S.,  Ill,  4,  p.  935,  sc.  6,  937-8;  IV,  2,  p.  939-40,  3,  p.  941-2,  R.  K. 
Ill,  209-435. 


30  The  Royall  King  and  the  Loyall  Subject. 

lution  of  the  action.  They  too,  are  soldiers  turned  beggars 
— or  hawkers  of  street  wares — not  because  they  have  no 
money,  but  because  they  will  not  accept  money  from  men 
who  dishonor  their  general.  Theodore  and  the  Captain 
both  go  ragged  for  honor's  sake,  and  both  feel  free  to  speak 
their  minds  with  utmost  frankness  to  the  silken  followers  of 
the  court. 

One  or  two  brief  similarities  in  thought  or  expression 
add  to  the  general  impression  of  Fletcher's  knowledge  of  the 
Royall  King.  Thus,  in  the  last  scene,  the  Marshal  says  he 
gives  his  life  to  the  King,  "In  liew  of  which  oh  grant  me 
but  a  grave."  Burris,  telling  of  Archas'  refusal  to  return 
to  arms,  says: 

"He  shook  his  head,  let  fall  a  tear,  and  pointed 

Thus  with  his  finger  to  the  ground ;  a  grave 

I  think  he  meant ;  and  this  was  all  he  answered."1 

There  are  several  references  to  hawking  that  at  once  sug- 
gest the  strife  of  the  falcon  and  the  eagle,  but  references  to 
falconry  are  so  common  in  plays  of  the  period  that  they 
hardly  furnish  available  evidence.  The  adjurations  to 
"hold,"  "stay,"  "forbear,"  etc.,  addressed  by  the  Queen, 
Prince,  Princess  and  others  to  the  executioner,  in  the  last 
scene  of  the  Royall  King,  are  paralleled  by  Archas'  address 
to  the  mutinous  soldiers  near  the  close  of  the  Loyal  Subject. 

"Hold,  hold,  I  say,  hold  Soldiers, 
On  your  allegiance,  hold!"2 

While  Archas  is  not  actually  threatened  with  death,  and 
the  Duke  had  never  intended  for  him  anything  beyond  a 
temporary  imprisonment,  Fletcher  has  preserved  the  tragic 
suspense  of  the  last  scene  in  the  punishment  of  Theodore 
and  has  heightened  it  by  the  introduction  of  Brisky  and 
Young  Archas,  and  still  more  by  the  fact  that  the  minister 

1  L.  S.,  I,  5,  p.  922,  R.  K.  V,  332. 
1  L.  S.,  IV,  7,  p.  946.   R.  K.  V,  357-8. 


The  Royall  King  and  the  Loyall  Subject.  31 

of  this  summary  justice  is  the  offender's  own  father.  Now 
it  is  the  Duke  who  says  "Hold,  hold,  I  say,  a  little  hold! 
consider."1  Here  too,  the  culprit  makes  a  last  request,  par- 
allel to  the  Marshal's  will : 

"Your  grace's   mercy, 

Not  to  my  life  applied,  but  to  my  fault,  sir ! 
The  world's  forgiveness,  next !  last,  on  my  knees,  sir, 
I  humbly  beg 

Do  not  take  from  me  yet  the  name  of  father; 
Strike  me  a  thousand  blows,  but  let  me  die  yours!"2 

Lastly,  Fletcher,  too,  quotes  the  much-used  line  from  the 
Battle  of  Alcazar:  "Let  'em  feed  so  and  be  fat."  in  the 
scene  between  Archas  and  his  daughters,  after  they  have  been 
commanded  to  come  up  to  court.2  Throughout  this  scene, 
there  are  many  likenesses  of  thought  and  expression  to  the 
scenes  between  the  Marshal  and  his  daughters,  but,  as  the 
situations  are  practically  identical,  this  was  to  be  expected. 
As  to  the  quoted  line,  it  does  not,  of  course  prove  anything, 
by  itself,  except  Fletcher's  knowledge  of  a  current  phrase ; 
but  it  does  seem  curious,  that  of  all  Fletcher's  plays  this 
should  have  been  the  one  in  which  he  happened  to  use  it, 
if  it  had  not  been  recalled  to  his  mind  by  its  occurrence  in 
Hey  wood's  play. 

Finally,  the  accusation  brought  against  Archas,  while 
quite  as  unreasonable  as  that  made  at  the  Marshal's  trial,  is 
far  more  fitting  and  dramatic,  in  that  it  is  actually  based  on 
the  action  of  the  General  in  yielding  to  the  Duke's  own 
prayer:  he  is  accused  of  impiety  for  doing  just  that  which 
saved  his  master  and  his  state  from  destruction. 

The  key-notes  to  the  heroes  are  the  same,  in  the  two  plays. 
Archas'  declaration, 

"Through  all  the  ways  I  dare 

I'll  serve  your  temper  though  you  try  me  far"3 

1'L.  S.,  V,  7,  p.  951.   R.  K.  V,  336-354. 

2L.  S.,  Ill,  2,  p.  932,  next  to  last  line. 

»L.  S.,  II,  6,  last  two  lines.     R.  K.  IV,  133-135. 


32  The  Royall  King  and  the  Loyall  Subject. 

is  quite  in  the  Marshal's  spirit ;  and  the  Duke's  admission, 

"Through  a  few  fears  I  mean  to  try  his  goodness 
That  I  may  find  him  fit  to  wear  here,  Burris."1 

voices  the  King's  motive  for  his  erratic  behaviour  to  his 
Marshal.  In  many  points,  they  differ.  The  pathos  of  Archas' 
position  is  greatly  increased  by  the  fact  that  he  is  an  old 
man,  enfeebled  by  long  service.  The  Duke's  carelessness, 
and  his  spite  against  Archas,  on  the  other  hand,  gain  excuse 
from  his  youth.  The  moral  tone  of  the  play,  as  is  often  the 
case  with  Fletcher,  is  decidedly  lower  than  Heywood's;  in- 
deed, the  latter  seems  to  have  a  distinct  moral  end  in  view, 
whereas  Fletcher's  single  purpose,  is,  as  always,  emotional 
and  aesthetic,  quite  unmoral. 

In  the  Royall  King  and  the  Loyall  Subject,  then,  we 
have  the  work  of  a  poet,  who  at  his  best,  is  thoroughly  realis- 
tic. He  has  chosen  here  a  romantic  subject,  but  according 
to  the  bent  of  his  genius,  has  worked  it  up  as  realistically 
as  possible,  leaving  the  story  much  as  he  found  it,  and  creat- 
ing variety  by  a  series  of  characteristically  English  scenes, 
in  which  he  is  thoroughly  at  home.  For  this  reason,  in  my 
opinion,  it  is  not  the  King  or  the  Marshal,  who  is  the  best 
and  most  living  character  in  the  play,  but  the  honest  free- 
spirited  Captain,  through  whom,  if  through  any  character, 
the  poet  himself  speaks. 

The  Loyal  Subject,  on  the  contrary,  gives  us  a  character- 
istic play  from  the  hand  of  a  master  in  the  romantic  tem- 
per. It  is  unmistakably  the  work  of  Fletcher,  at  his  best, 
and  we  have  in  Archas  one  of  the  most  admirable  and 
pathetic,  and  in  Theodore,  one  of  the  most  refreshing  of  all 
his  creations. 

Frequent  mention  has  been  made  by  writers  on  the  drama 
(Ward,  Collier,  Fleay,  etc.)  of  the  parallelism  between  The 
Royall  King  and  the  Loyall  Subject  and  Fletcher's  Loyal 
Subject.  What  has  been  said  in  regard  to  their  likenesses 

*L.   S.,  IV,  6,  p.  945. 


The  Eoyall  King  and  the  Loyall  Subject.  33 

and  differences,  therefore,  is  but  an  amplification  of  a  fact 
previously  noted.  There  is  another  parallel  to  our  play,  how- 
ever, that  has  attracted  little  notice,  the  drama  called 
"Chabot,  Admiral  of  France"  usually  ascribed  to  Chapman 
and  Shirley.  Curiously  enough,  in  this  instance,  as  in  that 
of  "El  Duque  de  Viseo"  noted  by  Ward,1  we  have  a  play 
whose  plot,  founded  on  actual  historical  incidents,  neverthe- 
less bears  a  strong  resemblance  to  that  of  another  play,  drawn 
from  a  quite  different,  and  probably  purely  fictional  source. 
The  main  incidents  of  "Chabot"2  are  as  follows : 
Philip  Chabot,  Admiral  of  France,  a  man  renowned  for 
his  absolute  justice  and  unimpeachable  virtue,  was  for  many 
years  first  favorite  with  King  Francis  I.  At  last,  however, 
a  younger  man,  Montmorency,  Lord  Constable,  began  to 
equal  if  not  to  supplant  him  in  the  King's  favor.  Three 
irresponsible  officers  of  the  court,  Chancellor,  Treasurer,  and 
Secretary,  knowing  Montmorency  to  be  pliable  through  his 
ambition,  and  Chabot,  incorruptible  and  an  obstacle  to  their 
illegal  practices,  seized  on  the  moment  of  a  reconciliation 
between  Chabot  and  Montmorency  to  make  the  latter  pres- 
ent an  unjust  bill  requiring  the  Admiral's  signature,  an  act 
that  they  felt  very  sure  would  create  a  new  rupture.  The 
King,  on  a  wayward  impulse  to  test  the  boasted  righteousness 
of  his  Admiral,  himself  signed  the  bill,  and  sent  it,  armed 
thus  with  his  authority,  to  Chabot. 

The  latter,  in  a  rage  at  the  flagrant  injustice  of  the  whole 
proceeding,  not  only  refused  to  sign,  but  tore  the  bill  to 
fragments.  Appealed  to  by  the  King,  he  persisted  in  the 
justice  of  his  course,  even  claiming  that  all  the  honors  granted 
him  by  the  King  were  fully  equalled  by  his  services.  The 
King  provoked  to  genuine  anger  by  this  assumption,  threat- 

1  El  Duque  de  Viseo,  Lope  de  Vega,  written  earlier  than  1614,  printed 
at  Madrid,  1617.  See  L.  de  V.,  complete  works,  introduction  to  El  D. 
de  V.  Ward,  Eng.  Dram.  Lit.,  II,  560.  The  resemblance  is  limited  to 
the  Loyal  Subject. 

*  The  Dramatic  Works  and  Poems  of  James  Shirley,  ed.  A.  Dyce, 
London,  1833,  Vol.  VI,  p.  85,  Chabot,  Admiral  of  France. 


34  The  Royall  King  and  the  Loyall  Subject. 

ened  him  with  an  attainder,  whereat  he  claimed  that  by  that 
threat  all  his  former  favors  were  annulled. 

The  trial  followed,  with  a  condemnation  assured  before- 
hand, though  grounded  on  worthless  accusations,  the  judges 
following  the  Chancellor's  lead  perforce,  but  reserving  to 
themselves  the  statement  that  it  was  perforce  alone.  Chabot's 
dearest  friend,  Allegre,  was  meantime  put  to  the  torture. 

After  the  condemnation,  Montmorency,  weak  and  vacil- 
lating, but  not  evil,  joined  the  Queen,  who  from  jealousy 
of  Chabot's  wife,  had  at  first  tried  to  excite  the  King 
against  him,  in  an  appeal  for  the  Admiral's  pardon  and  re- 
enstatement.  This  had  been  the  King's  very  intention  from 
the  first.  Summoning,  therefore,  the  officers  of  Court,  the 
Queen,  and  others,  and  calling  Chabot  into  his  presence, 
the  King  pronounced  upon  him  a  free  pardon,  and  re-estab- 
lishment in  all  his  forfeited  prerogatives.  Chabot,  inimita- 
bly just,  astonished  the  court  by  his  quiet  "You  cannot  par- 
don me,  sir."  Since  he  was  innocent,  pardon,  implying 
guilt,  was  impossible.  An  examination  into  the  papers  of 
the  trial,  and  the  conduct  of  the  judges,  convinced  the  King 
of  Chabot's  truth  and  the  righteousness  of  his  claim,  result- 
ing in  the  arrest,  trial  and  condemnation  of  the  unjust  and 
ambitious  Chancellor. 

Chabot,  weakened  and  unnerved  by  his  unjust  trial  and 
condemnation,  and  distressed  by  the  sufferings  of  Allegre, 
racked  for  his  sake,  fell  now  to  brooding  on  the  imperfect 
love  of  the  King,  who  for  a  whim,  had  been  induced  to  sub- 
ject one  who  was  not  only  his  just  and  faithful  servant,  but 
his  nearest  friend,  to  suffering  and  the  threat  of  death.  His 
utmost  loyalty  thus  stricken,  he  weakened  more  and  more, 
till  at  last,  in  the  very  presence  of  the  King,  who  had  come 
to  cheer  and  comfort  him,  and  in  the  act  of  pleading  for 
mercy  on  his  old  enemy,  the  Chancellor,  he  died. 

This  play,  then,  unlike  those  of  Heywood  and  Fletcher,  is 
a  tragedy.  Plot  and  motive  are  far  simpler  than  in  the 
former  plays.  The  climax  of  the  action  lies  in  the  trial  of 
the  Admiral,  worked  up  to  by  the  machinations  of  the  plot- 


The  Eoyall  King  and  the  Loyall  Subject.  35 

ting  lords  (paralleled  by  Chester  and  Clinton  in  our  play) 
hastened  by  Chabot's  own  independence  of  attitude  toward 
the  King.  There  are  no  alternations  of  favor  and  disfavor, 
as  in  the  other  plays.  There  is  no  under-plot,  no  comedy 
incident,  no  variation  in  the  action.  Of  all  the  plays,  this 
most  simply  presents  the  central  theme, — a  subject  loyal, 
first  to  his  own  sense  of  right  and  justice,  second  to  his  royal 
master,  a  ruler,  magnanimous  in  the  main,  but  led  by  bad 
counsellors  into  opposition  to  this  most  loyal  of  his  subjects, 
whom,  after  many  years  of  faithful  service,  he  first  hurls 
down  and  at  last  re-enstates  in  his  capricious  favor.  In 
Chabot's  case,  however,  the  re-enstatement  comes  too  late. 

In  consistency  of  character,  the  three  central  figures  in 
these  plays  the  Marshal,  Archas  and  Chabot,  may  be  con- 
sidered equal.  In  some  ways,  the  last  is  the  noblest  of  the 
three.  He  is  calmly  just  in  his  defense  of  himself,  he  is  abso- 
lutely without  the  plotting  instinct  that  somewhat  mars  the 
Marshal's  dignity  and  though  he  claims  equality  with  the 
king  in  the  matter  of  services  rendered  and  benefits  con- 
ferred, he  does  not  actually  show  the  spirit  of  emulation 
that  actuates  the  Marshal.  The  king's  character,  too,  is 
clarified  and  simplified.  In  The  Royall  King  and  the  Loyall 
Subject,  it  is  difficult  to  tell  whether  the  royal  master  is 
actually  swayed  by  the  plots  and  arguments  of  his  courtiers 
and  by  pique  at  the  Marshal's  spirit  of  emulation,  or  whether, 
throughout,  he  too,  like  Louis,  is  merely  trying  the  temper 
of  his  subject.  Fletcher's  play  shows  us  the  Duke  actually 
prejudiced  against  Archas,  at  first,  and  only  coming  grad- 
ually to  understand  and  appreciate  his  real  worth  and  his 
enemy's  corruptness. 

Undoubtedly,  then,  this  play  of  Chapman-Shirley  lacks 
variety,  and  the  efforts  at  humor  in  the  Proctor's  speeches 
(the  only  comedy  relief  attempted)  are  heavy  and  tire- 
some; yet  it  compels  a  sympathetic  interest  throughout  by 
the  directness  and  intensity  of  its  appeal.  The  chief  char- 
acters are  carefully  differentiated  and  clearly  defined,  in  few 
and  simple  strokes,  while  many  of  the  speeches  are  not  only 


36  The  Eoyall  King  and  the  Loyall  Subject. 

poetic,  but  like  much  of  Chapman's  work,  weighted  with 
thought.  Even  the  more  minor  characters  are  interesting 
and  alive,  and  we  conclude  the  play  with  the  feeling  that 
Chabot  himself  has  worthily  filled  the  role  of  the  tragic  hero. 

In  contrast  even  to  the  Royall  King,  and  much  more  to 
Fletcher's  play,  Chabot  is  a  realistic  chronicle,  romantic  only 
in  the  situation,  not  at  all  in  treatment.  Direct,  bare,  force- 
ful, it  sets  the  work  of  Chapman  in  sharp — one  might  almost 
say,  solemn — contrast  with  that  of  his  lighter-handed,  per- 
haps more  hasty  and  superficial  fellow-poets. 

It  is  interesting  to  note  that  in  at  least  four  important 
points,  the  plot  of  the  Loyal  Subject  bears  a  closer  resem- 
blance to  that  of  Chabot  than  to  that  of  Heywood's  play. 
(l)Borosky  and  Montmorency  are  both  young  men,  recently 
taken  into  the  royal  favor,  of  good  repute  among  the  other 
nobles,  and  rather  weak  than  wholly  corrupt.1  There  is  no 
exact  parallel  to  these  characters  in  the  Royall  King,  though 
Chester  and  Clinton  together  act  their  part  in  prejudicing 
the  ruler  against  his  subject.  (2)  The  climax  of  the  plot, 
the  condemnation  of  the  loyal  subject,  in  the  Royall  King, 
comes  as  a  result  of  emulation,  personal  rivalry  between  the 
Marshal  and  the  King;  while  in  Chabot  and  the  Loyal  Sub- 
ject, it  is  the  direct  consequence  of  a  public  action,  done  for 
the  sake  of  the  common  good.  (3)  Archas  is  put  to  the 

1  Compare  the  character  of  Borosky,  as  given  by  Theodore,  with  that 
of  Montmorency  in  Allegre's  mouth: 

L.  S..  I,  1 :     "Believe  it,  a  brave  gentleman, 
Worthy  the  Duke's  respect,  a  clear,  sweet  gentleman, 
And  of  a  noble  soul." 

Chabot,  I,  1:     "As  just  and  well  inclin'd   (as  Chabot),  when  he's 

himself, 

(Not  wrought  on  with  the  counsels  and  opinions 
Of  other  men)  and  the  main  difference  is, 
The  admiral  is  not  flexible,  nor  won 
To  move  one  scruple,  when  he  comprehends 
The  honest  track  and  justness  of  a  cause: 
The  constable  explores  not  so  sincerely 
The  course  he  runs,  but  takes  the  mind  of  others." 
Cf.  M.  in  III,  I,  IV,  I. 


The  Roy  all  King  and  the  Loyall  Subject.  37 

torture,  as  is  Allegre  and  through  him,  we  may  say,  Chabot, 
in  the  Chapman  play.  The  Marshal  suffers  nothing  like 
this.  (1)  Finally,  Archas,  like  Chabot,  forgives  his  enemy, 
at  the  close  of  the  action,  and  begs  the  remission  of  his  pun- 
ishment, and  his  restoration  to  favor.  In  our  play,  we  are 
left  to  suppose  that  the  Marshal  let  justice  take  its  course 
with  the  plotting  lords  who  had  deprived  him  of  his  offices. 

Fletchers  Loyal  Subject  was  licensed  in  1618,  Chabot, 
Admiral  of  France,  not  until  1635,  so  it  would  seem  clear 
that  Fletcher  could  not  have  borrowed  from  Chapman's 
play.  Whether  or  not  he  knew  its  source,  however  is  a  dif- 
ferent question,  and  one  that  cannot  be  settled  here.  The 
rather  noteworthy  resemblances  detailed  above  would  lead 
one  to  suspect  some  such  possibility.1 

VII.  The  foregoing  pages  have  attempted  to  define  the 
distinctive  character  of  The  Royall  King  and  the  Loyall 
Subject  as  a  drama,  thus  fixing  it  place  with  relation  to  other 
plays.  They  have  also  reviewed  the  questions  that  have 
arisen  with  regard  to  its  date  and  authorship,  summarized 
its  plot,  the  p^ts  of  parallel  plays  and  the  source  from  which 
the  original  story  was  drawn.  It  only  remains  to  say  a  few 
words,  in  conclusion,  upon  the  individual  worth  of  the 
play.  The  chief  merit  of  The  Royall  King  and  the  Loyall 
Subject  is,  in  my  opinion,  that  it  is  so  thoroughly  character- 
istic of  Heywood.  His  carelessness,  his  lack  of  system,  his 

1  Koeppel  ( Quellen-studien  zu  den  Dramen  George  Chapman's, 
Philip  Massinger's  und  John  Ford's,  Strassburg,  1897)  assigns 
Les  Recherches  de  la  France  d'Estienne  Pasquier,  1521,  as 
the  source  of  Chabot.  It  is,  of  course,  possible  that  Chap- 
man, who  seems  to  be  the  chief,  if  not  the  only,  author  of  the  play 
as  we  have  it,  knew  both  Heywood's  play  and  Fletcher's,  and  took  hints 
from  the  latter  for  the  treatment  of  a  story  which,  though  historically 
true,  embodied  the  same  principle  as  the  loyal  subject  plays.  The 
four  points  of  similarity  between  Chabot  and  The  Loyal  Subject, 
enumerated  above,  are  not  mentioned  by  Koeppel  as  founded  on  Pas- 
quier's  account  of  Chabot's  life.  A  more  detailed  study  of  the  possible 
sources  of  the  play  would  be  necessary  before  one  would  be  justified 
in  arriving  at  the  conclusion  that  Chapman  actually  used  Fletcher's 
play.  The  interesting  possibility  at  least  presents  itself. 


38  The  Royall  King  and  the  Loyall  Subject. 

haste,  his  habit  of  taking  his  material  wherever  he  could  find 
it,  and  just  as  he  found  it, — all  those  faults  of  the  hack 
writer  that  were  pecu'iarly  his — are  here  exemplified;  but 
this  is  not  all.  His  ability  to  infuse  life  into  his  material, 
and  thoroughly  characteristic  English  life,  to  present  with 
vividness  scenes  of  every-day  realism,  of  pathos,  and  of 
a  somewhat  obvious  touch-and-go  humor,  all  in  a  smooth, 
easy,  rhythmical  flow  of  expressive  verse;  to  inspire  with 
a  wholesome  moral  purpose  even  the  coarsest  scenes,  and  to 
create  characters,  especially  the  characters  of  direct,  upright 
open-minded  young  men,  that  live  before  us  and  compel  our 
sympathy  and  friendship,  this  power,  too,  appears  in  full 
measure  in  this  play.  It  will  live  because  the  spirit  of 
Heywood  lives  within  it. 


THE 

ROYALL 

KING 

AND 

The  Loyall  Subje&. 

As  it  hath  becne  Adcd  with  great 

Applaufe  by  the  Queenes  Maiefttes 
Servants. 

Aut  frodeflefolent,aut<Jeleftare — 

•  Jw         *f 

Written  by  Tbomof  Heywood. 
LONDON^ 


Printed  by  %(jcb.  and  John  Okes  for 

ketjftd  are  to  be  fold^at  his  (hop  at  the 
inner  Templcneare the  Gate.  1637* 


PROLOGUE     TO     THE     STAGE. 

To  give  content  to  this  most  curious  Age,  1 

The  gods  themselves  we'  have  brought  downe 

to  the  Stage, 

And  figur'd  them  in  Planets,  made  even  Hell 
Deliver  up  the  Furies,  by  no  spell,  5 

(Saving  the  Muses  rapture)  further,  we 
Have  traffickt  by  their  helpe ;  no  History 
We  have  left  unrifled,  our  Pens  have  beene  dipt 
As  well  in  opening  each  hid  Manuscript, 
As  Tracts  more  vulgar,  whether  read,  or  sung  10 

In  our  domesticke,  or  more  forraigne  tongue: 
Of  Faiery  Elves,  Nymphs  of  the  Sea,  and  Land ; 
The  Lawnes  and  Groves,  no  number  can  be  scan'd 
Which  we'  have  not  given  feet  to,  nay  'tis  knowne, 
That  when  our  Chronicles  have  barren  growne  15 

Of  Story,  we  have  all  Invention  stretcht, 
Div'd  low  as  to  the  Center,  and  then  reacht 
Unto  the  Primum  mobile  above : 
(Nor  scapt  things  intermediate)  for  your  love, 
These  have  beene  Acted  often,  all  have  past  20 

Censure ;  of  which  some  live,  and  some  are  cast : 
For  this  in  agitation,  stay  the  end, 
Though  nothing  please,  yet  nothing  can  offend.  23 

2  We'  have.)    Dilke,  Collier:     we've. 

10  As  tracts)    D.,  tracks. 

11  The  Lawnes  and  Groves.)     D.    The  lawns,  the  groves. 
w  We'  have.)    "D.,  we  have;  C.,  we've. 

16  stretcht.)    D.,  C.    stretch'd,  so  reach'd. 
"  D.  no  parenthesis,  'scap'd  for  scapt. 

(41) 


DRAMMATIS    PERSONAE. 


The  King  of  England. 

The  Lord  Martiall. 

The  Earle  of  Chester. 

The  Lord  Lacy. 

The  Lord  Clinton. 

The  Lord  Audley.      , 

The  Lord  Bonvile. 

The  Princesse. 

Isabella  the  Marti  alls  eldest 

Daughter. 
Margaret,  the  Martials 

Younger  Daughter. 
The  Lady  Mary  Audley. 
Two  Gentlemen  in  a  Bro- 

thelhouse. 


The  Prince  of  England. 
Captaine  Bonvile. 
Corporall    Cocke. 
Lansprisado  Match. 
The  Clowne. 
A  Welch-man. 
An  Host  of  the  Ordinary. 
Foure  young  Gallants 
at  the  Ordinary. 
A  Servant. 
A  Bawd. 
Two  Courtezans. 
Attendants,  &c. 


10 


15 


*  Corporall  Cocke.)     D.  brackets  "Corporal  Touch-box,  Lanceprezado 
Match,  Cock"  as  "three  of  Captain  Bonvile's  soldiers."     Cock  and  the 
Clown  are  one. 

*  The  Lord  Lacy.    Does  not  speak  in  the  play. 
T  C.  A  Host. 

'  at  the  Ordinary.)    D.  omits. 

u  Margaret.)     C.  corrects  to  "Katherine,"  the  name  used  throughout 
the  play. 

"  in  a  Brothel-house.)    D.  omits. 


(42) 


The  ROY  ALL  KING,  and  The  LOYALL  SUBJECT. 

Actus  primus,  Scena  prima.  1 

Enter  the  King  of  England,  the  Lord  Lacy,  Clinton, 
Chester,  and  the  Martiall,  Audley,  and  Bonvile. 

King. 

Thus  from  the  holy  Warres  are  we  returned, 
To  slumber  in  the  Summer  of  soft  peace, 
Since  those  proud  enemies  that  late  blaspheamd 
And  spit  their  furies  in  the  face  of  Heaven, 
Are  now  laid  low  in  dust. 

Chester.    Dread  Soveraigne,  10 

The  Heavens  have  shew'd  their  bounty  unto  us, 
In  guarding  your  most  dear  and  sacred  life 
From  opposite  hatred,  and  that  immiment  perill 
To  which  you  were  ingaged. 

Clinton.   When  in  one  battaile  you  were  twice  unhorst,       15 
Guirt  with  the  opposite  rankes  of  Infidels, 
That  had  not  timely  rescue  come  from  Heaven, 
Mortall  assistance  had  beene  us'd  in  vain. 

King.  Ey,  now  you  load  me  with  a  surplussadge 
Of  comptlesse  debt  to  this  thrice  valiant  Lord  20 

My  noble  Martiall,  twice  that  perillous  day 
Did  he  bestride  me,  and  beneath  his  Targe 
Me  thought  that  instant  did  I  lie  as  safe 
As  in  my  best  and  strongest  Cittadell; 

Title.)     Dilke.     The  Royal  King  and  Loyal  Subject. 

1  Actus  primus,  etc.)    D.  Act  I,  Scene  I. 

*  the  Lord.)    D.,  C.  the  Lords. 

'  Are  now.)     Pearson :     And  now. 
»Ey.)     C.  Fye! 
»  Me  thought.)     D.,  C.   Methought 

(43) 


44  The  Roy  all  King  and  the  Loyall  Subject. 

The  whilst  his  bright  Sword  like  the  Bolt  of  love,  25 

Pierc't  the  steele-crests  of  barbarous  Infidels, 

And  flatted  them  with  earth ;  although  my  Subject, 

Yet  in  this  one  thing  thou  hast  prov'd  my  Lord: 

For  when  my  life  was  forfeit  to  the  Warres, 

Thou  by  thy  valour  didst  redeeme  it  freely,  30 

And  gav'st  it  me,  whilst  thou  ingag'st  thy  life : 

For  which  if  ever  by  like  chance  of  Warre, 

Lawes  forfeiture,  or  our  prerogative, 

Thy  life  come  in  like  danger,  here  we  sweare 

By  our  earths  honours,  and  our  hopes  divine,  35 

As  thou  for  us,  wee'le  ours  ingage  for  thine. 

Mart.    You  give  my  Lord,  to  Duty  Attributes 
Too  high  for  her  submisse  humility: 
I  am  your  vassall,  and  ten  thousand  lives 
Of  equall  ranke  with  mine,  subjects  and  servants,  40 

Be  over-rated  if  compared  with  yours. 

King.    When  I  forget  thee,  may  my  operant  parts 
Each  one  forget  their  office :  We  create  thee 
Next  to  our  selfe  of  power,  we  but  except 
The  name  of  King,  all  other  dignities  45 

We  will  communicate  to  thee  our  friend. 

Mart.  May  I  no  longer  use  these  Royalties, 
Or  have  the  power  to  enjoy  them,  then  I  wholly 
Devote  them  to  your  service. 

Prince.    Noble  Martiall,  50 

If  I  survive  Englands  Inheritance, 
Or  ever  live  to  sit  on  lacobs  Stone, 
Thy  love  shall  with  my  Crowne  be  hereditary. 

Mart.     And  gracious  Prince,  since  Heaven  hath  bin  as 
liberall 

*•  Steele-crests.)     D.,  C.  steel  crests. 

*  Tet  in  this  one  thing.)     P.  omits  "thing." 

tt  ingag'st.)     D.  engag'd'st. — correct,  but  unpronounceable. 

41  over-rated.)    D,  C,  overrated. 

**  may  my  operant  parts.)     D,  operant  powers. 

41  our  selfe.)    D.,  C.  ourself,  so  throughout. 


The  Royall  King  and  the  Loyall  Subject.  45 

To  grace  me  with  your  favour,  as  my  birth  55 

Was  to  endow  me  richly ;  all  your  graces 
Shall  with  my  great  and  ample  revenues 
Be  ever  to  your  vertues  serviceable. 

King.  We  know  it,  and  have  beene  observers  long 
Of  thy  choice  vertues,  neither  could  we  yet  60 

Fasten  that  love  on  thee,  which  came  not  home 
With  double  use  and  ample  recompence. 

Clint.    These  graces  are  beyond  dimension, 
They  have  nor  height,  nor  depth,  uncircumscrib'd, 
And  without  bounds.    He  like  a  broad  arm'd  tree  65 

O're — shadows  us,  and  throw  his  spacious  bowes, 
We  that  grow  under  cannot  see  the  Sunne, 
Nor  taste  the  cheerefull  warmth  of  his  bright  beames. 
These  branches  we  must  loppe  by  fire  or  Thunder, 
Or  by  his  shadowy  armes  be  still  kept  under.  70 

Chest.     I  was  borne  Eagle-sighted,  and  to  gaze 
In  the  Suns  fore-head ;  I  will  brooke  no  cloud 
To  stand  betwixt  me  and  his  glorious  fire, 
I'le  have  full  light,  or  none;  either  soare  high, 
Or  else  sinke  low;  my  ominous  Fate  is  cast,  75 

Or  to  be  first,  or  of  all  abjects  last. 

King.  You  shall  renowned  Martiall  feast  for  us 
The  Embassadors  that  come  from  forraigne  Lands, 
To  gratulate  our  famous  victories. 

Mar.    I  shall  my  Lord,  and  give  them  intertainment      80 
To  Englands  honour,  and  to  suite  the  place 
Of  which  I  beare  the  name. 

King.    We  doubt  it  not: 
We  understand  Lords,  in  these  tedious  warres 

M  Clint.}    D.  and  C.  add  (aside  to  Chester j. 
85  broad  arm'd.)     D.,  C. :     broad-arm'd. 
w  O're-shadows.)  D.,  C. :     O'er  shadows. 

71  Chest.)    D,  (To  Clint).    C.  (aside  to  Clinton). 

72  Fore-head.)     D.,  C.  forehead. 

77  renowned.)    D.,  renown'd.    This  elision  destroys  the  metre. 
83  We  doubt  it  not.)     C.,  a  dash  after  "not." 


46  The  Royall  King  and  the  Loyall  Subject. 

Some  forward  spirits  have  beene  at  great  expence  85 

To  furnish  them  like  noble  Gentlemen ; 

And  many  spent  most  part  of  their  revenues 

In  honour  of  their  Countrey,  some  undone 

In  pursuit  of  these  warres ;  now  if  such  come 

For  their  reliefe  by  suite  petitionary,  90 

Let  them  have  gracious  hearing,  and  supply 

Or  by  our  service,  or  our  Treasury 

Audley.     I  have  one  Kinsman  hath  spent  all  his  land, 
And  is  return' d  a  beggar,  and  so  tatter' d, 
As  that  I  can  but  blush  to  acknowledge  him:  95 

But  in  the  Warres  he  spent  it,  and  for  me, 
Warres  shall  relieve  him.    He  was  a  noble  Heire, 
But  what  these  lost,  let  other  Warres  repaire. 

King.    Lords  all,  once  more  we  greete  your  safe  returne. 
With  generall  welcome,  we  invite  you  all  100 

To  feast  with  us,  and  joy  what  we  have  wonne, 
Happiest  in  these,  our  Martiall,  and  our  sonne.    Exit. 

Enter  the  Clowne  and  a  Welch-man. 

Clowne.   It  seemes  thou  hast  not  beene  in  the  Warres  my 
Friend,  but  art  new  come  up  to  London.  105 

Welch.     Heaven  plesse  thee  from  all  his  mercies,   and 

his 

graces :  It  was  told  us  in  Wales,  that  you  have  great  pigge  Or- 
gan in  Pauls,  and  pigger  by  a  great  deale  than  our  Organ 
at  Rixam,  which  made  me  make  my  travels  and  my  journies 
on  the  pare  hoofe  up  to  London,  to  have  resolutions  and  cer- 
tifications in  112 
that  pisinesse,  that  when  I  return  into  my 

*»  Audley.)    D.  And.  (Aside). 

1<nExit.)     D.,  C.  Exeunt.     Throughout  the  play,  "Exit"  is  oftenest 
used  to  denote  the  end  of  a  scene  and  the  departure  of  all  the  characters. 
108  Enter  the  Clowne.)    D.  Enter  COCK,  etc.    So  throughout  the  scene. 
106  From  all  his  mercies.)    D.  for  all,  etc. 
m  graces.)    D. :  graces ! 
I0tat  Rixam.)  D.:  in  Rixam;  C.:  Wrexham;  so,  in  118,  125. 


The  Eoyall  King  and  the  Loyall  Subject.  47 

Countries  and  habitations,  I  may  give  notice  to  mine  Uncle, 

Rice  ap  Davy,  ap  Morgan,  ap  Evan,  ap  Tones,  ap  Gef- 
frey. 

I  pray  where  apout  stands  Pauls  Church,  can  you  tell  her  ? 

Clowne.     O  very  easily;  stand  with  thy  face  that  way, 
and  115 

follow  thy  nose,  and  thou  wilt  be  there  presently.  But  does 
thou  heare  Brittan,  take  my  word,  our  Organ  of  Powles  is 
much  bigger  and  better  than  yours  of  Rixam,  by  as 
much  as  Powles  Church  is  bigger  and  better  than  Saint 
Pancridge.  120 

Welch.  Awe  man,  you  prittle  and  prattle  nothing  but  leas- 
ings  and  untruths:  now  will  you  but  ease  your  posteriors  a 
little  and  I  will  quickly  show  you  your  Organ  of  Pauls. 

Clowne.  Very  good,  I  like  your  demonstration  well ;  but 
doest  thou  thinke  your  Organ  of  Rixam  can  compare  with 
ours  for  all  that  ?  '  126 

Welch.     Lend  me  but  your  eares  and  your  apprehensions, 

and 
I  will  make  you  easily  to  acknowledge  your  errours. 

Clowne.  But  first  shew  me  your  case  in  which  you  carry 
your  two  paire  of  Organs,  sure  those  slops  wil  not  hold 
them:  130 

but  in  the  meane  time  walke  with  me  to  the  next  red  Lettice, 
and  I  will  give  thee  two  Cannes,  and  wet  thine  Organ-pipes 
well  I  warrant  thee. 

Welch.     I  will  take  your  courtesies,  and  if  ever  I  shall 

meet 

you  in  Glamorgan,  or  Rednock-shire,  I  will  make  bold  to 
requite  135 

some  part  of  your  kindnesses. 

114  tell  her.)     C.  hur. 

117  take  my  word.)  D. :  take  my  words.    Powles.)  D.  Fowl's,  C.  Paul's. 
111  Awe  man.)  D.:    Awe-man    (?).     C. :    Awe,  man!      No  doubt  the 

correct  modern  equivalent. 

180  Sure  those  slops  will  not  hold  them :)    A  question  in  D. 

118  RednocJcshire)     C.  Brecknockshire. 


48  The  Royall  King  and  the  Loyall  Subject. 

A  loud  winding  of  Homes  within. 

Clowne.  The  very  noise  of  that  Home  hath  frightened  my 
courtesie,  but  all's  one,  fare-well  for  this  time,  and  at  our 
next  meeting  ten  to  one  I  will  be  as  good  as  my  word.  140 

Welch.    Say  you  so  man,  why  then  Cad  keepe  you  from 
all  his  mercies,  and  good  fortunes,  and  make  us  all  his  ser- 
vants. Sound  againe. 

Enter  the  King,  Martiall,  &c. 

King.    Come,  we  will  to  the  chace,  be  neare  us  Martiall, 
I'le  try  today  which  of  our  two  good  steeds 
Can  speed  it  best ;  let  the  most  swift  take  both. 

Mar.    So  please  your  Grace,  but  I  shall  surely  loose ; 
Yours  is  the  best  for  proofe,  though  mine  for  show. 

King.    That  will  we  try,  the  wager  growes  not  deepe     150 
Equals  the  lay,  and  what  we  winne,  wee'le  keepe, 
Mount,  mount.  Exeunt. 

Chester.    Greater  and  greater  still  no  plot,  no  tricke 
To  have  him  quite  remov'd  from  the  Kings  Grace, 
To  slander  him  ?  155 

Clin.    The  King  will  lend  no  eare 
To  any  just  complaint  that's  made  of  him ; 
What  can  our  scandals  doe  then  ? 

Chest.    Challenge  him 

Of  Treason  then,  and  that  may  haply  call  160 

His  Loyalty  into  suspect  and  question, 

"*  fare-well.)    D. :  farewell.    C. :  fare  well. 

m  Say  you  so  man.)    A  question  in  D.  and  C.    Cad).  D.  Cod. 

143  D.  Exeunt.    No  doubt  correct. 

146  today.    D.  today ;  C.  today. 

m  Exeunt.)    D.  Exeunt  KING  and  Marshal.    C.  Exeunt  King,  Marshal, 
etc.,  manent  CHESTER  and  CLINTON. 

15*D.  has  a  colon  after  "still";  C.  an  exclamation.     Both,  an  interro- 
gation mark  after  "Grace." 

"*  What  can  our  scandals  doe  then. )     P.  misprints  "them." 


The  Royall  King  and  the  Loyall  Subject.  49 

Which  in  the  King  at  least  will  breed  a  coldnesse, 
If  not  a  deadnesse  of  affection. 

Clint.    Of  Treason  ?  say  he  crave  the  combate  then, 
For  that's  the  least  he  can;  which  of  us  two  165 

Shall  combate  him,  ?  I  know  his  blowes  too  well, 
Not  I. 

Chest.    I  should  be  loathe. 

Clin.    How  do  you  relish  this  ? 

His  vertue  and  his  bounty  wonne  him  grace,  170 

On  that  wee'le  build  to  ruine  all  his  favours, 
And  worke  him  to  disgrace. 

Chest.    Pray  teach  me  how  ? 

Clin.    First,  praise  him  to  the  King,  give  all  his  vertues 
Double  their  due,  adde  unto  every  thing,  175 

Ey,  and  Hyperbolize  in  all  his  deeds : 
Let  his  knowne  vertues  be  the  common  Theame 
Of  our  discourse  to  stale  him,  rate  his  worth, 
To  equalize,  if  not  to  exceed  the  King : 
This  cannot  but  beget  distast  at  least.  180 

Chest.     But  further. 

Clin.     Thus ;  then  fall  off  from  his  praise, 
And  question  his  best  deeds,  as  it  may  be 
His  noble  bounty  is  but  popular  grace, 

And  his  humility  but  inward  pride:  185 

His  vulgar  suffrage  and  applause  abroad, 
A  way  to  climbe  and  seate  himselfe  aloft, 
You  understand  me? 

Chest.    Fully ;  come  to  horse,  Homes. 

And  as  we  ride,  our  further  plots  disgest,  190 

To  finde  what  may  disturbe,  what  ayd  us  best.  Exit. 

Enter  Martiall,  and  Servant. 

1W  But  further.)  C. :    farther.    So,  wherever  the  word  occurs. 

"•  Fully,  etc.)     D.  Fully.  (Horns  sound.)   Come,  to  horse j 

190  disgest.)     D.  digest.     See  note. 

MEorit.)     D.,  C.:  Exeunt. 

"*D.    "Scene  changes  to  a  Forest.    Enter,"  etc. 


50  The  Royall  King  and  the  Loyall  Subject. 

Mar.    Spurre  to  the  King,  his  steed's  unshod  before, 
The  wayes  be  stony,  and  hee'le  spoyle  his  beast : 
Here  take  these  shooes  and  hammer,  brought  of  purpose     195 
For  mine  own  use. 

Serv.  My  Lord,  have  you  pluck' t  the  shooes  off  from 
your  owne  horse,  to  set  them  on  anothers,  a  thousand  to 
one  but  you  will  spoyle  your  owne  Guelding  quite. 

M af.  No  matter,  doe  as  I  command  thee  sirrah ;  200 

Hollow  him  streight,  I  know  he  loves  that  horse, 
And  would  not  ride  him  bare  for  any  gold. 

Serv.  Your  horse  is  as  good  as  his  I  am  sure,  and  I  think 
you  love  him  as  well.  204 

Mar.    No  matter,  if  he  asks  thee  where  thou  hadst  them, 
Tell  him,  thou  broughtest  them  with  thee  for  my  use. 
Away,  I'le  gallop  after,  and  over-take  thee. 

Serv.    Put  your  shooes  on  another  horses  feete,  and  let 
your  owne  goe  bare-oot  ?  a  Jest  indeed. 

Mar.    The  King  affects  both  his  good  horse  and  Game,  210 
I'le  helpe  to  further  both. 

Enter  the  King,  and  Martiall:  Winde  homes. 

King.     You  have  fetcht  me  up  at  length,  that's  to  your 

fortune, 

Or  my  misfortune,  for  I  lost  a  shooe. 
Martiall  you  ride  well  furnisht  to  the  field,  215 

Mar.    My  Lord,  so  Horsemen  should,  and  I  am  glad 
My  man  was  so  well  furnisht,  and  the  rather 
Since  we  are  f arre  from  helpe ;  my  man  is  cunning, 
Your  Highnesse  to  his  skill  may  trust  your  horse. 

"*  anothers)    D.,  C.  another's  ?    A  etc. 
201  Hollow.)     D.,  C.  "Follow."   See  note. 

207  and  over-take  thee.)     C.  "o'ertake."   This  improves  the  metre. 
n>bare-footf  a  Jest  indeed.)    C.  barefoot.    D. :  A  jest,  indeed! 
m  D.  Exeunt. 

211  D.  "Horns  sound.    Enter  KING  and  MARSHAL." 

215  field.)     The  comma  of  the  Quarto  is  emended  in  all  editions  to  a 
period. 


The  Roy  all  King  and  the  Loyall  Subject.  51 

King.    Thou  couldst  not  have  presented  me  a  gift          220 
I  could  have  tasted  better,  for  that  beast 
I  much  esteeme:  you  were  out-stript  at  length. 

Mar.     Till  I  was  forc't  to  alight,  my  horse  with  yours 
Kept  equall  speed.  Enter  the  Lords. 

King.     Our  Lords?  now  Gentlemen,  225 

How  do  you  like  the  Chace  ? 

Audi.     'Twas  excellent. 

King.    Had  not  my  horse  beene  by  mischance  unshod. 
My  Martiall  here  and  I  had  led  you  still. 

Chest.    You  were  the  better  horst.  230 

King.    And  you  the  worst, 
Witnesse  the  hugenesse  of  your  way  behind : 
Is  not  my  horse  yet  shod  ? 

Serv.     He  is  my  Lord. 

King.     Then  let  us  mount  againe.  235 

Clin.    Your  horse  my  Lord,  is  not  in  state  to  ride, 
He  wants  two  shooes  before. 

King.    Whose  doth,  the  Martials  ? 

Mart.     Oft  such  mischances  happen. 

King.     Were  you  furnisht  240 

For  us  and  for  your  selfe  kept  no  supply? 

Mar.     So  I  may  have  my  Lord  to  furnish  you, 
I  care  not  how  my  selfe  want. 

King.    Apprehension  helpe  mee,  for  every  circumstance 

apply. 

Thou  hast  done  me  an  unwonted  courtesie;  245 

You  sp/d  my  loss  first. 

Mar.     I  did  my  Lord. 

222  out  stript.)    D    C.  outstripp'd. 

**  Our  Lords  f)    Both  D.  and  C.  omit  the  question  mark. 

234  Clin.)    D. :    Clint.   (To  Marsh.} 

238  Whose  doth)  C.  and  D.  both  make  here  two  questions.  "Whose 
doth?  the  Marshal's?" 

244  Apprehension)  This  word,  as  has  been  noted  by  all  the  editors, 
should  be  alone  on  the  line,  since  it  completes  the  preceding  verse. 
"Help"  then  begins  a  new  verse. 

2"A  question  in  D.,  as  is  also  248. 


52  The  Royall  King  and  the  Loyall  Subject. 

King.     And  then  alighted. 

Mar.     True. 

King.     Upon  my  life  'tis  so,  250 

To  unshooe  thine  own  good  steed,  and  furnish  mine, 
Was't  not?     upon  thy  life  resolve  me  true. 

Mar.    What  I  have  done  my  Lord,  I  did  to  you. 

King.    You  will  exceed  me  still,  and  yet  my  courtesie 
Shall  ranke  with  thine;  for  this  great  duty  showne,         255 
I  pay  thee  thus,  both  steeds  are  now  thine  owne. 

Clint.     They  wager  love. 

Mar.     The  best  thing  I  can  doe 
In  me  is  duty ;  the  worst,  Grace  in  you. 

King.      Th'art  ours;   come  mount,    we  will   returne   to 
Court,  260 

To  order  the  great  Turnament  prepar'd 
To  do  our  sonne  grace;  in  which  we  intreat 
Martiall,  your  ayde,  because  your  skill  is  great.  Exit 

Enter  Corporall  and   CocTce  ragged. 

Corpor.  We  have  visited  all  our  familiars,  is  it  not  now  265 
time  that  we  revisite  our  Captaine  ? 

Cock.   With  all  my  heart  good  Corporall,  but  it  had  not 
bin  amisse,  if  we  had  gone  to  Burchen-lane  first  to  have  sui- 
ted us:  and  yet  it  is  a  credit  for  a  man  of  the  sword  to  goe 
thread-bare,  because  by  his  aparrell  he  may  be  taken  to  be 
an  old  Soldier. 

Corp.  Cocke,  thy  father  was  a  fresh  water-soldier, 

(thou  are  not ; 
Thou  hast  beene  powdred,  witnesse  thy  flaxe  &  touch-box. 

250 D.  "'tis  so!" 

287  Clint.)    D.  adds  (Aside}. 

260  Th'art)     D.  Thou'rt  ours! 

243  Exit.)    D.,  C.  Exeunt. 

264  D.  "Scene  changes  to  London.    Enter"  etc. 

285  We  have  visited,  etc.)    C.  places  a  question  mark  after  "familiars." 

2n-8  written  as  prose  by  C.  and  D. 

272  fresh  water-soldier.)    D.  has  no  hyphen.    C.  a  fresh-water  soldier. 


The  Royall  King  and  the  Loyall  Subject.  53 

Enter  Match. 

Cocke.  But  who  comes  yonder,  my  Match  ?  I  am  glad  to  275 
have  met  thee. 

Match.  I  knew  Cock,  at  one  time  or  other  thou  wouldst 
meete  with  thy  Match.  What,  shall  we  goe  to  my  Captains 
lodging  ? 

Enter  Captaine  extreame  ragged.  280 

Corp.    Spare  that  paines,  yonder  he  appears  in  his  colours. 

Capt.   Fortun'  de  la  guere ;  I  that  have  flourisht,  no  colours 
like  me  nay,  no  Trumpet  thou  in  his  highest  key ;  have  no 
thing  now  but  ragges  to  nourish ;  I  that  have  f  ac't  the  enemy, 
have  not  so  much  as  any  facing  left  me :  were  my  suite  but  as 
well  pointed  as  I  have  scene  some,  and  stood  I  but  in  the 
midst  of  my  followers,  I  might  say  I  had  nothing  about  me 
but  tagge  and  ragge.  I  am  descended  nobly;  for  I  am  descen- 
ded so  low  that  all  the  cloaths  of  my  backe  are  scarce  worth 
a  Koble:  I  was  borne  to  thousands,  and  yet  a  thousand  to  290 
one,  they  will  now  scarce  acknowledge  mee  where  I  was 
borne. 

Corp.     Health  to  our  worthy  Captaine, 

Capt.   Thanks  my  most  worthy  soldiers ;  and  yet  if  I  should 
examine  your  worths,  what  at  the  most  could  all  you  make  ? 

295 

Corp.  I  would  not  have  your  Worship  to  examine  our 
outsides. 

Capt.  And  for  your  insides  I'le  passe  my  word. 

Cock.    Cannot  all  your  worships  credit  afford  you  a  new 
suit? 

***  C.  and  D.  both  read :  "But  who  comes  yonder  ?  My  Match ! "  The 
emendation  does  not  strike  me  as  an  improvement. 

280  C.  "Enter  Captain  BONVILLE,  extremely  ragged."  D.,  too,  prints 
"extremely."  There  is  but  one  "Captain,"  who  is  so  called  throughout. 
See  note. 

282 C.  and  D.  correct  the  French:     Fortune  de  la  guerre! 

284  C.  omits  "but  ragges." 


54:  The  Royall  King  and  the  Loyall  Subject. 

Cap.  Credit  me,  no ;  my  revenues  were  a  thousand  a  yeere, 
part  of  which  i  lavish't  amongst  gallants,  riotted  in  Tav-  300 
ernes,  havockt  in  Ordinaries ;  and  when  my  estate  began  to 
ebbe,  as  my  last  refuge,  I  laid  all  my  hopes  upon  the  last  wars, 
but  failing  there,  (as  the  world  imagins)  iam  return'd  as 
you  see.   The  King  hath  promised  supply  and  reliefe  to  all 
that  have  spent  their  estates  in  his  expeditions,  but  many 
like  305 

my  selfe  have  beene  borne  to  be  poore,  that  scorne  to  be  beg- 
gars ;  as  many  have  been  borne  to  be  rich,  that  can  never 
leave  it;  the  truth  is,  I  am  my  selfe  as  my  proceedings  will 
expresse  me  further. 

Cor.  Will  you  cashiere  us  Captaine,  or  shall  wee  follow  310 
your  future  fortunes  ? 

Capt.  You  shall  not  leave  me;  my  purpose  is  to  try  the 
humours  of  all  my  friends,  my  Allies,  my  ancient  associates, 
and  see  how  they  will  respect  me  in  my  supposed  poverty: 
though  I  loose  their  acquaintance,  I  shall  lose  none  of  my  315 
retinew.   How  say  you  Gentlemen,  will  you  copart  with 
me  in  this  my  dejectednesse  ? 

Corp.  As  I  am  Corporall,  so  will  I  prove  true  Squire  to 
thy  body. 

Cock.    And  as  I  am  true  Cocke,  so  will  I  crow  at  thy 
ser-  320 

vice,  waite  on  thee  with  a  combe  for  thy  head,  with  fire  to 
thy  Peece,  with  water  to  thy  hands,  and  be  cocke  sure  in  a- 
ny  imployment  whatsoever. 

Match.    And  as  I  am  true  Match,  I  shall  scorne  that  any 

of 
them  shall  o're-match  me  in  duty.  325 

Capt.  Attend  me  then ;  if  I  rise,  you  shall  ascend ;  if  fall. 
I  will  lie  flat  with  you.  First  then  I  will  make  some  trvall  of 
my  Friends  at  the  Court,  and  in  good  time :  here's  the  King. 

*"D.  "Credit  me?    no:"  this  changes  the  meaning,  unnecessarily. 
**D.    C.  "a-year." 
**  C.  "o'ermatch." 


The  Roy  all  King  and  the  Loyall  Subject.  55 

Sound,  Enter  the  King  discoursing  with  Chester,  and 

Clinton,  Audley,  and  Bonvile.  330 

King.     You  have  perswaded  much,  and  I  begin 
To  censure  strangely  of  his  emulous  love. 

Chest.    Further  my  Lord,  what  can  his  smoothnesse  meane, 
His  courtesie,  and  his  humility, 

But  as  sly  baites  to  catch  the  peoples  hearts,  335 

And  weane  them  from  your  love. 

Clin.     Doth  he  not  strive 
In  all  things  to  exceed  your  courtesie, 
Of  purpose  to  out-shine  your  Royall  deeds, 
And  dazell  your  brightnesse,  that  himselfe  may  shine?  340 
Is  he  not  onely  popular  my  Liege  ? 
Is  not  the  peoples  suffrage  sole  to  him, 
Whilst  they  neglect  your  fame;  his  traine  doth  equall 
If  not  exceed  yours;   still  his  Chamber  throng'd 
With  store  of  suitors:  where  the  Martiall  lies,  345 

There  is  the  Court,  all  eyes  are  bent  on  him, 
And  on  his  glories;  there's  no  Theame  abroad, 
But  how  he  sav'd  you  from  the  Pagans  sword, 
How  his  sole  hand  swayes,  guides,  and  guards  the  Realme. 

Chest.  Thinke  but  my  Lord  on  his  last  game  at  Cheese,  350 
'Twas  his  past  odds,  but  when  he  saw  you  moov'd, 
With  what  a  sly  neglect  he  lost  the  mate, 
Onely  to  make  you  bound  to'  him. 

Clin.     For  all  the  favours,  graces,  honours,  loves 
Bestow'd  upon  him  from  your  bounteous  hand,  355 

•**  C.  adds  to  the  direction :  "and  Captain  BONVILLE."  D.  alters  as  ff. 
"Flourish.  Enter  the  KING,  discoursing  with  CHESTER  and  CLINTON: 
AUDLEY  and  BONVILLE,  CAPTAIN,  and  the  others,  stand  apart."  The 
scene  is  the  same  as  the  foregoing,  hence  it  is  not  necessary  to  mark 
the  entrance  of  the  Captain,  who  is  already  present. 

346  P.  reads  "fly  bates,"  no  doubt  a  misunderstanding  of  the  Quarto. 

***  D.  adds  a  f,  here,  and  after  "fame,"  in  343.     So  also,  C. 

"*  Even  by  the  rules  followed  in  the  printing  of  the  Quarto,  a  comma 
should  follow  "my  Lord." 

**"  to'  him.    D.  C.  to  him. 


56  The  Roy  all  King  and  the  Loyall  Subject. 

His  cunning  was  to  thinke  to  quit  you  all, 
And  pay  you  with  a  horse-shooe. 

Chest.    In  the  Turnament 

Made  by  the  Prince  your  sonne,  when  he  was  Peerelesse, 
And  without  equall,  this  ambitious  Martiall  360 

Strives  to  exceed,  and  did;  but  when  he  saw 
Your  Highnesse  moov'd  to  see  the  Prince  disgrac't, 
He  lost  the  Prize ;  but  how  ?  that  all  the  people 
Might  see  it  given,  not  forfeit,  which  did  adde 
Rather  than  derogate;  briefly  my  Lord,  365 

His  courtesie  is  all  ambition. 

King.     And  well  it  may  be ;  is  he  not  our  vassal  ? 
Why    should    the   Martiall   then   contend    with   us, 
To  exceed  in  any  vertue  ?  we  observe  him. 
His  popularity,  how  affable  370 

He's  to  the  people;  his  Hospitality, 
Which   addes  unto  his   love ;   his   forwardnesse, 
To   entertaine   Embassadors,    and   feast   them, 
Which   though   he   doo't  upon   his   proper   charge, 
And  for  our  honour,  yet  it  may  be  thought  375 

A  smoothnesse,  and  a  cunning,   to  grow  great; 
It  must  be  so.     A  project  we  intend 
To  proove  him  faithlesse,  or  a  perfect  friend.  Exit. 

Chest.     It  takes,  these  jealous  thoughts  we  must  pursue, 
And  to  his  late  doubts  still  adde  something  new.  380 

Cap.    Your  speech  being  ended,  now  comes  in  my  cue. 
My  honourable  Lord. 

Chest.     What  begger's  this  ? 

Cap.     Beggar  my  Lord  ?     I  never  begg'd  of  you : 
But  were  I  a  begger,  I  might  be  a  Courtiers  fellow ;          385 

""D.  "Cap.  (Aside)"  and  382,  ("Comes  forward"),  "now  come  in." 
Misprint. 

884  C.  changes  the  questions  here,  and  in  389,  to  exclamations.  The 
latter  are  very  rare  in  this  Quarto.  C.  "begged." 

385  D.  "But  were  I,  I  might  be  a  courtier's  fellow:"  Note:  "The  quarto 
reads,  'But  were  I  a  beggar,  I  might  be  a  courtier's  fellow:'  It  was 
quite  unnecessary  to  the  sense,  and  destroyed  the  measure." 


The  Royall  King  and  the  Loyall  Subject.  57 

Could  I  begge  suites  my  Lord  as  well  as  you, 
I  need  not  goe  thus  clad ;  or  were  you  free 
From  begging  as  I  am,  you  might  ranke  me. 

Chest.     Comparisons  ?    Away.  Exit. 

Cap.    Folly  and  pride  390 

In  Silkes  and  Lace  their  imperfections  shew, 
But  let  pure  vertue  come  in  garments  torne 
To  begge  relief e,  she  gets  a  courtly  scorne: 
My  Lord  you  know  me  ? 

Clin.    I  have  seene  that  face.  395 

Cap.    Why  'tis  the  same  it  was,  it  is  no  changeling, 
It  beares  the  self e-same  front ;  'tis  not  like  yours, 
Paled  with  the  least  disgrace,  or  puft  with  bragges, 
That  smiles  upon  gay  cloaths,  and  frownes  on  rags. 
Mine's  stedfast  as  the  Sunne,  and  free  as  Fate,  400 

Whose  equall  eyes  looke  upon  want  and  state. 

Clin.  And  doth  not  mine  so  too  ?  Pray  what's  your  business  ? 

Cap.    Onely  that  you  would  know  me :  the  Kings  favour 
hath  made  you  a  Baron,  and  the  Kings  warres  have  made 
me  a  bare  one:  there's  lesse  difference  in  the  Accent  of  the 
Y\-ord,  than  in  the  cost  of  our  weeds :  This  is  the  same  face 
you  were  once  acquainted  with  though  not  the  same  habite: 
I  could  know  your  face,  though  your  diseas'd  body  were 
wrapt  in  sheepe-skins. 

Clin.     This  fellow  offends  me.  410 

Cap.    Goe  churle,  passe  free, 

Thou  knowst  my  forfeit  lands,  though  forget'st  me: 
Kay,  you  would  be  going  too,  you  are  as  affraid  of  a  torne 
suite,  as  a  younger  brother  of  a  Sergeant,  a  riche  corne-master 

389  D.  "Comparisons ?    Away!"    C.  "Comparisons!" 

402  D.     "And  doth  not  mine  so  to  ?"    Probably  a  misprint. 

404  D.  "wars  hath  made"  etc.  A  poor  emendation,  if  it  is  one;  certainly 
Heywood's  errors  in  grammar  are  sufficiently  numerous,  without  any 
assistance  from  his  editors! 

410  D.  adds  "Exit." 

417  D.  emends :     "thou  forget'st  me : "  unnecessary. 

418  D.  "(To  Bonvile)  Nay,  you  would  be  going  to:" 


58  The  Royall  King  and  the  Loyall  Subject. 

of  a  plentiful  yeere,  or  a  troublesome  Attourney  to  heare  415 

of  suits  put  to  compremize. 

Sir,  I  must  challenge  you,  you  are  my  kinsman; 

My  Grandsir  was  the  first  that  rais'd  the  name 

Of  Bonvile  to  this  height,  but  Lord  to  see 

That  you  are  growne  a  Lord,  and  know  not  me. 

Bonv.     Cousin,  I  know  you,  you  have  bin  an  unthrift, 
And  lavisht  what  you  had;  had  I  so  done, 
I  might  have  ebb'd  like  you,  where  I  now  flow. 

Cap.   Yet  I  can  purchase  that,  which  all  the  wealth  you 
have  will  never  winne  you.  425 

Bon.     And  what's  that  I  pray? 

Cap.    Wit :  is  the  word  strange  to  you,  wit  ? 

Bon.    Whither  wilt  thou  ? 

Cap.    True, 
Wit  will  to  many  ere  it  come  to  you.  430 

Bon.     Feed  you  upon  your  purchase,  I'le  keepe  mine. 

Cap.    Have  you  the  wit  to  doo't  ? 

Cap.    I  have  wit  to  buy, 
And  you  to  sell,  which  is  the  greater  gaine  ? 
Cousin,  I'le  keepe  my  wealth,  keep  you  your  brain.  435 

Cap.    The  wealth  of  My  das  choak  thee  ere  th'art  old, 
And  even  the  bread  thou  feed'st  on  change  to  gold. 
My  Lord,  you  heare  how  I  pray  for  my  Kinred, 

**-**  C.  "I  since  came  to  purchase  that, 

Which  all  the  wealth  you  have  will  never  win  you."  No  note  explains 
the  emendation.  D.  rearranges  the  lines  as  follows: 

Capt.    Yet  I  can  purchase  that  which  all  the  wealth 

You  have  will  never  win  you. 

Bonv.    And  what's  that, 

I  pray? 

Capt .    Wit — is  the  word  strange  to  you  ?    Wit ! 

This  certainly  corrects  the  metre,  though  the  next  line  is  still  deficient. 

'"All  editions  give  this  line,  correctly,  to  Bonvile.  C.  emends:  "I 
have  the  wit  to  buy."  A  better  correction  for  the  metre  would  be :  "I've 
wit  to  buy." 

•"  D.  "Eteit "  after  "brain." 

•"D.  inserts,  "(To  Aud.)." 


The  Roy  all  King  and  the  Loyall  Subject.  59 

I  have  a  little  more  charity  for  my  friend :  with  you 

I  have  some  businesse.  440 

Aud.     I  am  in  haste  now. 

Cap.    I  pray  you  stay. 

Audi.    Not  now  indeed. 

Cap.    Pardon,  for  here's  no  way 
Before  you  heare  me.  445 

Aud.    Prithee  be  brief e. 

Cap.     Your  daughter  lives  I  hope. 

Aud.     What's  that  to  thee  ? 

Cap.     Somewhat  'twill  proove,  ey,  and  concerning  me; 
Before  I  laid  my  fortunes  on  these  warres  450 

And  was  in  hope  to  thrive,  by  your  consent, 
Nay,  by  your  motion  our  united  hearts 
Were  made  more  firme  by  contract;  well  you  know 
We  were  betroth' d. 

Aud.     Sir,  I  remember't  not.  455 

Cap.    I  doe,  and  thus  proceed : 
I  was  in  hope  to  have  rais'd  my  fortunes  high, 
And  with  them  to  have  pull'd  her  by  degrees 
Vnto  that  eminence  at  which  I  aime: 

I  venter'd  for  it,  but  instead  of  wealth  460 

I  purchast  nought  but  wounds.     Honour  I  had, 
And  the  repute  of  valour ;  but  my  Lord, 
These  simply  of  themselves  are  naked  Titles, 
Respectlesse,  without  pride,  and  bombast  wealth, 
And  to  the  purblind  world  shew  seeming  bad,  465 

Behold  in  me  their  shapes,  they  thus  goe  clad. 
Aud.    You  said  you  would  be  brief  e. 

"*  D.  reads: 

I  have  a  little  more  charity  for  my  friend: 
With  you  I  have  some  business. 

The  lines  cannot  all  be  made  to  read  smoothly,  and  it  seems  wisest 
to  leave  them  as  they  stand. 
448  D.  adds  "(Stops  him)." 
467  D.  "fortune,"  probably  a  misprint. 
4W  C.  "seeming-bad." 


60  The  Royall  King  and  the  Loyall  Subject. 

Cap.    All  that  I  had, 

I  spent  upon  my  Soldiers,  we  took  no  spoile. 
The  warres  have  grated  on  me  ev'n  to  this  470 

That  you  now  see:  Now  my  last  refuge  is, 
To  raise  my  selfe  by  her. 

Aud.    And  spend  her  meanes 
As  thou  hast  done  thine  owne  vile  unthrift?  no, 
I  know  no  Contract.  475 

Cap.    I  have  one  to  shew. 

Aud.    No  matter ;  think'st  thou  that  Fie  vent  my  bagges 
To  suite  in  Sattin  him  that  Jets  in  ragges  ?  Exit. 

Cap.    The  world's  all  of  one  heart,  this  blaze  I  can, 
All  love  the  money,  none  esteemes  the  man.  480 

These  be  our  friends  at  Court,  and  fine  ones  too, 
Are  they  not  pray  ?  where  be  our  followers  ? 

Cock.     Here  noble  Captaine. 

Cap.  You  see  how  our  friends  grace  us,  what  hopes  we  have 
to  preferre  you  ?  485 

Corp.    I  see  sufficient :  Captaine,  I  will  discharge  my  selfe, 
I  meane  to  seeke  else-where  for  preferment. 

Cap.    All  leave  me  if  you  please ;  but  him  that  stayes, 
If  e're  I  mount,  Fie  with  my  fortunes  raise. 

Match.   Captaine,  I  desire  your  passe,  I  meane  to  march  a- 

490 
long  with  my  Corporall. 

Capt.    Wilt  thou  goe  too  ? 

Cock.   I  leave  you  ?  who  I  ?  for  a  little  diversity,  for  a  wet 
storme  ?  no  Sir,  though  your  out-sides  fall  away,  Fie  cleave 
as  close  to  you  as  your  linings.  495 

*"  C.  "And  spend  her  means 

As  thou  hast  thine  own.     Vile  unthrift!     no:" 

The  omission  of  "done"  is  probably  a  misprint. 

D.  places  ?  after  "own,"  the  rest  like  C. 

*™  Exit.    C.  "Exeunt  Lords." 

484 C.  writes  as  verse: 

You  see  how  our  friends 

Grace  us,  what  hopes  we  have  to  prefer  you  ? 

**•  T  D.  writes  as  prose. 


The  Roy  all  King  and  the  Loyall  Subject.  61 

Cap.  Gramercy  yet,  away  without  reply  ? 

Corp.   Futre  for  thy  base  service. 

Cap.  Away,  sfoot  how  am  I  f alne  out  of  my  humour  ?  and 
yet  this  strangenesse  of  my  nearest  friends  and  allience  de- 
serves a  little  contemplating  jis'tpossible,  that  even  Lords,  that 

500 

have  the  best  educating,  whose  eares  are  frequent  to  the  most 
fluent  discourse,  that  live  in  the  very  braine  of  the  Land,  the 
Court,  that  these  should  be  gull'd  with  shadows,  and  not 
be  able  to  distinguish  a  man  when  they  see  him ;  thou  know- 
est  me,  yet  these  do  not.  505 

Cock.  Why  may  not  a  poore  man  have  as  good  eyes  as  a 
nother?  their  eares  indeed  may  be  larger  than  mine,  but  I 
can  see  as  far  without  spectacles  as  the  best  Lord  in  the  land. 

Cap.    These  superficial!  Lords  thinke  every  thing  to 
be  as  it  appeares,  they  never  question  a  mans  wit,  his  discre- 
tion, his  language,  his  inward  vertues,  but  as  hee  seemes, 
he  passes  512 

Cocke.     I  warrant  if  I  should  looke  like  an  Asse, 
They  would  take  mee  for  one  too. 

Cap.    The  next  I  try  is  my  betroth' d,  if  she  acknowledge 

515 

this  hand  that  hath  received  hers,  this  heart,  this  face,  and 
knowes  the  person  from  the  garment,  I  shall  say,  Woman, 
there  is  more  vertue  in  thee  than  Man 

***  C.  omits  the  ?    D.  writes  thus : 

Capt.  Gramercy  yet!    (To  Corp  and  Match)   Away!   without  reply! 

497  C.  adds  after  "service"  (Exeunt  Corporal  and  MATCH;  Note : 
"This  necessary  stage-direction  is  wanting  in  the  old  copy.  The  same 
remark  applies  to  the  next  Exeunt  of  the  Captain  and  Cock." 

488  C.  and  D.  Away!     'Sfoot,  how  am  I  fallen  out  of  my  humour! 

504 D.  ?  after  "him,"  C.! 

606  D.  "know'st." 

80*  C.  "Why,  may  not"  etc.,  slightly  alters  the  sense. 

614  D.  and  C.  write  "they,"  without  the  capital.  The  line  is  evidently 
not  verse. 

617  D.  "woman." 


62  The  Roy  all  King  and  the  Loyall  Subject. 

Cock.   There's  no  question  of  that ;  for  they  say,  they  will 
hold  out  better :  But  Sir,  if  we  be  no  better  habited,  I  make  a 

520 

question  how  we  shall  get  in  at  the  Court-gate ;  for  I'le  assure 
you  your  fashion  is  not  in  request  at  the  Court. 

Cap.    My  vertue  is  not  to  be  imitated;  I'le  hold  my  pur- 
pose though  I  kept  backe,  and  venter  lashing  in  the  Por- 
ters Lodge,  Come,  follow  me,  I  will  go  see  my  Mistresse,  525 
Though  guirt  with  all  the  Ladies  of  the  Court : 
Though  ragged  Vertue  oft  may  be  kept  out, 
No  grate  so  strongly  kept  above  the  Center, 
But  Asses  with  gold  laden,  free  may  enter. 


Actus  secundus,  Scena  secunda.  1 

Enter  the  Prince,  the  Princesse,  the  Martiall,  and  the 
Lady  Mary  Audley. 

Prince.    Lord  Martiall,  we  are  much  in  debt  to  you, 
For  by  your  favour  we  obtain'd  the  prize  5 

In  the  last  Tourney:  we  acknowledge  it. 

Mar.    I  could  not  love  my  Soveraigne  Gracious  Prince, 
Without  extent  of  duty  to  the  sonne. 

Princesse.    'Twas   nobly  ply'd  on  both   sides,   both   had 

honour ; 

Yet  brother  to  be  modest  in  your  praise,  10 

You  had  the  best. 

Prince.     You  please  to  grace  me  Sister. 

823  The  entire  speech  of  the  Captain  is  verse,  and  is  so  printed  in  all 
the  editions. 

My  vertue  is  not  to  be  imitated ; 

I'le  hold  my  purpose  though  I  be  kept  backe, 

And  venter  lashing  in  the  Porters  Lodge. 

Come,  follow  me,  I  will  go  see  my  Mistresse,  etc. 

1  D.  "Act  II,  Scene  I." 


The  Royall  King  and  the  Loyall  Subject.  63 

Martiall,  I  heare  you  are  a  widdower  late: 

How  long  is't  since  your  beauteous  Countesse  dy'd  ? 

Mar.    My  Lord,  you  make  me  now  unsoldier-like  15 

Forget  the  name  of  Martiall,  to  become 
A  passionate  husband ;  her  remembrance  drawes 
Teares  from  mine  eyes :  shee  dy'd  some  three  Moneths  since, 
Good  Lady  shee's  now  gone. 

Princesse.    A  kinde  Husband  20 

I'le  warrant  him:  if  e're  I  chance  to  bride, 
Heaven  grant  I  find  no  worse. 

Prince.     Have  you  no  children  by  her? 

Mar.    Two  sweet  Girles, 

Now  all  my  hopes  and  solace  of  this  earth,  25 

Whom  next  the  zeale  I  owe  unto  my  King, 
I  prise  above  the  world. 

Prince.     Why  noble  Sir, 

Are  they  not  brought  up  to  be  train'd  at  Court, 
To  attend  our  Sister?  30 

Mar.     They  are  young  and  tender, 
And  e're  I  teach  them  fashion,  I  would  gladly 
Traine  them  in  vertue,  and  to  arme  their  youth 
Against  the  smooth  and  amorous  baits  of  Court. 

Princesse.    As  kind  a  Father  as  a  Husband  now:  35 

If  e're  I  chance  to  wedde,  such  Heaven  grant  me. 

Prince.  Why  Heaven  may  heare  your  prayer:  here's  one 
I  warrant  that  dreames  not  on  a  Husband. 

Princesse.    Yet  e're  long 

14  beauteous  Countesse.)  So  printed  in  D.  and  P.  C.  prints  "boun- 
teous," with  the  note:  "So  the  old  copy;  but  perhaps  we  ought  to  read 
beauteous  countess."  C.  must,  we  think,  have  misread  his  Quarto. 

"  C.  "Where,  next  the  zeal"  etc. 

"  **  The  lines  are  wrongly  arranged.    Dilke  has  corrected  them : 

Why,  heaven  may  hear  your  prayer.     (To  Lady  Aud.)    Here's  one  I 
warrant 

That  dreams  not  on  a  husband.    So,  P. 
C.  makes  confusion  worse  confounded  in  his  version: 

Why,  Heaven  may  hear  your  prayer:  here  is  one, 

I  warrant,  that  dreams  on  a  husband.  ( ! ) 


64  The  Royall  King  and  the  Loyall  Subject. 

Shee  may  bothe  dreame,  and  speake  as  much  as  I.  40 

No  question  but  she  thinks  as  much  already; 
And  were  here  voyce  and  her  election  free, 
Shee  would  not  sticke  to  say  this  man  for  me. 

Prince.    You  make  the  Lady  blush. 

Princesse.    Why  to  change  face,  45 

They  say  in  modest  Maides  are  signes  of  grace : 
Yet  many  that  like  her  hold  downe  the  head, 
Will  ne're  change  colour  when  they're  once  in  bed. 

Prince.    You'le  put  the  Lady  out  of  countenance  quite. 

Princesse.   Not  out  of  heart ;  for  all  of  her  complexion,  50 
Shew  in  their  face  the  fire  of  their  affection: 
And  even  the  modest  wives,  this  know  we  too, 
Oft  blush  to  speake  what  is  no  shame  to  doe. 

Mar.    Lady,  the  Princesse  doth  but  try  your  spirit,       54 
And  prove  your  cheeke,  yet  doe  not  take  it  ill,  55 

Hee'le  one  day  come  will  act  the  Husbands  part. 

Enter  Captaine  and  Cocke. 

Princesse.    Here  enters  one,  I  hope  it  be  not  he. 

Cap.  Attend  me  sirrah  into  the  presence,  and  if  any  of  the 
Grand  repulse  thee,  regard  him  not.  60 

Cocke.    I'le  march  where  my  Captaine  leads,  wer't  into 
the  Presence  of  the  Great  Termagaunt. 

Cap.    My  duty  to  the  Prince,  Madam  your  favour, 
Lord  Martiall,  yours. 

Prince.    What  will  the  fellow  doe  ?  65 

Cap.    Lady,  your  lip. 

Princesse.    My  Lord,  how  like  you  this  ? 
Shee'd  blush  to  speake,  that  doth  not  blush  to  kisse. 

Cocke.    Well  said  Mistris. 

Prince.     A  good  bold  fellow.  70 

a  this  man  for  me.}    C.  sets  in  quotation  marks,  with  !  at  end. 

"are  sighnes)     C.  "is  sign  of  grace:" 

*  they're)     C.  "they  are." 

w  C.  "Captain  BONVUXE."    C.  always  gives  Cap.  his  full  name. 

"D.  "Cap.  (To  Lady  Audley.)   Lady,  your  lip.     (Kisses  her.)" 

WD.  "fellow!" 


The  Royall  King  and  the  Loyall  Subject.  65 

Cap.   You  are  not  asham'd  to  acknowledge  me  in  this  good 
company:  I  have  brought  thee  all  that  the  warres  have  left 
of  me;  were  I  better  worth,  'twere  all  thine;  than  canst 
have  no  more  of  the  Cat  but  his  skinne,  I  have  brought  thee 
home  the  same  eyes  that  first  saw  thee,  the  same  tongue       75 
that  first  courted  thee,  the  same  hand  that  first  contracted 
thee,  and  the  same  heart  that  first  affected  thee:  More  I  have 
not,  lesse  I  cannot:  nay  quickly  sweet  Wench,  and  let  mee 
know  what  to  trust  to. 

Lady  Mary.   Were  you  more  worth,  I  could  not  love  you 
more,  80 

Or  lesse,  affect  you  lesse ;  you  have  brought  me  home 
All  that  I  love,  your  selfe,  and  you  are  welcome. 
I  gave  no  faith  to  Money,  but  a  Man, 
And  that  I  cannot  loose  possessing  you: 
"Tis  not  the  robe  or  garment  I  affect,  85 

For  who  would  marry  with  a  suite  of  cloaths  ? 
Diamonds,  though  set  in  Lead,  reteine  their  worth, 
And  leaden  Knives  may  have  a  golden  sheath. 
My  love  is  to  the  Jewell,  not  the  Case, 
And  you  my  Jewell  are.  90 

Cap.   Why  god-amercy  Wench :  come  sirrah.        Exit. 

Cock.     Here's  a  short  horse  soone  curryed. 

Princesse.  Is  this  your  sweet-heart  ?  I  had  need  wish  you 
much  joy,  for  I  see  but  a  little  towards :  Where  did  you  take 
him  up  by  the  hye-wye,  or  did  you  not  fall  in  love  with  him 

95 
hanging  on  a  Gibbet? 

Prince.  What  is  he  for  Heavens  sake  ?  can  no  man  give  him 
his  true  character  ? 

Mar.    I  can  my  Lord,  he's  of  a  noble  House, 

"Exit.)    D.  omits.    C.  D.  "wench!" 

92  C.  places  "(Exit"  at  the  end  of  this  line.  D.  reads:  "(Exeunt  Capt. 
and  Cock." 

"C.  "Where  did  you  take  him  up?    by  the  highway?"  D.  the  same. 

"  "  D.  writes  as  verse : 

What  is  he,  for  Heaven's  sake  ? 

Can  no  man  give  him  his  true  character? 


66  The  Boy  all  King  and  the  Loyall  Subject. 

A  Bonvile,  and  great  Heire;  but  being  profuse,  100 

And  lavish  in  his  nonage,  spent  the  most 

Of  his  knowne  meanes,  and  hoping  now  at  last 

To  raise  his  fortunes  by  the  warres  now  ceast, 

His  hopes  have  fail'd  him,  yet  we  know  him  valiant 

And  fortunate  in  service:  One  whose  minde  105 

No  fortune  can  deject,  no  favour  raise 

Above  his  vertues  pitch. 

Prince.    If  he  be  such, 

Wee'le  move  the  King  in  his  behalf,  and  helpe 
To  cherish  his  good  parts.  Enter  Chester.     110 

Chest.    My  Lord  the  Prince, 
The  King  calls  for  you;  for  he  dines  to  day 
In  the  great  Hall  with  great  solemnity, 
And  his  best  state:  Lord  Martiall,  you  this  day 
Must  use  your  place,  and  waite,  so  all  the  Lords.  115 

Prince.    Come,  wee'le  goe  see  the  King. 

Mar.    I  shall  attend  your  Grace  Exit. 

Princesse.  And  in  faith  Lady  can  you  be  in  love  with  this 
ragge  of  honour  ? 

Lady  Ma.    Madam,  you  know  I  am  my  Fathers  heire,    120 
My  possibilities  may  raise  his  hopes 
To  their  first  height :  should  I  despise  my  hand 
In  a  torne  glove,  or  taste  a  poysonous  draught 
Because  presented  in  a  Cup  of  Gold  ? 

Vertue  will  last  when  wealth  flyes,  and  is  gone:  125 

Let  me  drinke  Nectar  though  in  earth  or  stone. 

Princesse.  But  say  your  Father  now,  as  many  Fathers  are, 

m  fortunes)    C.  "fortune." 

m  Exit)     C.  ["Exeunt."    D.  ["Exeunt  all  but  the  Princess  and  Lady 
Mary." 

m  D.  "In  a  torn  glove  T" 

m  C.  prints  as  verse : 

Princess.    But  say 

Your  father  now,  as  many  fathers  are, 

Prove  a  true  worldling,  and  rather  than  bestow  thee 

On  one  dejected,  disinherit  thee: 

How  then? 


The  Royall  King  and  the  Loyall  Subject.  67 

proove  a  true  wordling,  and  rather  than  bestow  thee  on  one 
dejected,  dis-inherite  thee  ?  how  then  ? 

Lady  Ma.    My  Father  is  my  Father,  but  my  Husband,  130 
He  is  my  selfe:  my  resolution  is 
To  prof esse  constancy,  and  keepe  mine  honour ; 
And  rather  than  to  Queene  it  where  I  hate, 
Begge  where  I  love:  I  wish  no  better  fate. 

Princesse.     By  my  faith  good  counsell;   if  I  live  long 

enough,  135 

It  may  be  I  may  have  the  grace  to  follow  it.  Exit. 

Sound',  enter  two  banquets  brought  forth,  at  one  the  King 
and  the  Prince  in  their  State,  at  the  other  the  Lords :  then 
Martiall  with  his  Staffe  and  Key,  and  other  offices  borne  be- 
fore him  to  waite  on  the  King.  140 

King.     This  Anniversary  doe  we  yeerely  keepe 
In  memory  of  our  late  victories. 
In  joy  of  which  we  make  a  publicke  feast, 
And  banquet  all  our  Peeres  thus  openly. 
Sit  Lords,  those  onely  we  appoint  to  waite,  145 

Attend  us  for  this  day:  and  now  to  crowne 
Our  Festivall,  we  will  begin  this  health. 
Who's  that  so  neare  our  elbow  ?  Martiall  ?  you  ? 
Stand  off  we  wish  you,  further. 

Mar.    Me  my  Lord?  King.    Ey  you  my  Lord.     150 

m  D.  "And  rather  than  to  quean  it"  etc.  The  emendation,  if  it  be 
not  a  misprint,  is  poor. 

m  Exit)    D.  "Exeunt."    C.  omits. 

m  D.  stage-direction  reads :  "Flourish.  Two  banquets  are  set  out,  at 
the  one,  the  KING  and  the  PBINCE  sit,  dressed  in  their  Robes  of  State, 
at  the  other,  the  Lords  of  the  Court,  standing:  the  MABSHAL  attends 
with  the  Staff  and  Key  of  Office,  to  wait  upon  the  KING." 

148 D.  C.  "Marshal,  you?" 

"•D.  and  C.  read:  "Stand  off,  we  wish  you  further."  (C.  "farther.") 
This  punctuation  alters  the  meaning  slightly.  As  the  line  stands,  it 
means:  "We  wish  you  to  stand  off  further,"  the  "we  wish  you"  being 
parenthetical,  with  the  regular  punctuation,  only  after  the  inserted 
words. 


68  The  Eoyall  King  and  the  Loyall  Subject. 

Mar.    Your  Highnesse  will's  a  law, 
I  shall  obey. 

King.    You  are  too  neare  us  yet :  what  are  we  King, 
Or  have  we  countermanders  ? 

Chest.    Note  you  that?  Clint.   Now  it  begins     155 

Mar.    I  feare  some  Sycophants 

Have  dealt  ignobly  with  us  to  the  King: 
No  matter  I  am  arm'd  with  innocence, 
And  that  dares  front  all  danger. 

King.    Lords  this  health:  The  King  drinks,          160 

See  it  goes  round,  'twas  to  our  victory.        they    all    stand. 

Mar.     With  pardon,  can  your  Highnesse  that  remember, 
And  so  forget  me  ? 

King.    Thou  doest  prompt  me  well, 
You  are  our  Martiall.         Mar.    I  have  us'd  that  place.     165 

King.     Your  Staffe?  support  it,  and  resolve  me  this: 
Which  of  yon  Lords  there  seated  at  the  bord, 
Hast  thou  beene  most  in  opposition  with? 
Or  whom  dost  thou  least  favour? 

Mara    I  love  all:  170 

But  should  you  aske  me  who  hath  wrong' d  me  most, 
Then  should  I  point  out  Chester. 

King.     Chester  then, 

Beare  him  that  Staffe,  giv't  up  into  his  hand, 
Say,  I  commend  me  to  him  by  the  name  175 

Of  our  High  Martiall ;  take  your  place  below, 
And  let  him  waite  on  us :  what  doe  you  pause  ? 
Or  shall  we  twice  command  ? 

143  D.    alters,    to    correct   the    metrical    reading,    which    is,    however, 
imperfect  in  any  case: 
You  are  too  near  us  yet; 

What!  are  we  King,  or  have  we  countermanders? 
153  D.  "(Aside  to  Clint)"     C.    "(Aside)." 
164  D.  "Marsh.     (Aside)." 
1W  D.  "King.    Lord,  this  health,  (The  King  drinks,  the  Lords  all  stand 

«?;." 

1WD.  "King.    Your  staff:    support  it,"  etc. 
mD.  "King.     Chester?    then 
Bear  him  that  staff"  etc. 


The  Roy  all  King  and  the  Loyall  Subject.  69 

Mar.    Fie  doo't  my  Lord : 

Chester,  the  King  commends  his  love  to  you,  180 

And  by  my  mouth  he  styles  you  by  the  name 
Of  his  High  Martiall,  which  this  Staffe  of  Office 
Makes  good  to  you ;  my  place  I  thus  resigne, 
And  giv't  up  freely  as  it  first  was  mine. 
You  must  attend  the  King,  it  is  a  place  185 

Of  honour  Chester,  and  of  great  command, 
Vse  it  with  no  lesse  modesty  than  he 
That  late  injoy'd  it  and  resignes  it  thee. 

Chest.    I  need  not  your  instruction ;  the  Kings  bounty 
Bestows  it  freely  and  I  take  my  place.  190 

Mar.    And  I  mine  here,  th'  allegeance  that  I  owe  him 
Bids  me  accept  it,  were  it  yet  more  low. 

King.     Attend  us  Chester,  wait  upon  our  Cup, 
It  is  an  honour  due  to  you  this  day. 

Chest.     I  shall  my  Lord.  195 

Clin.  Oh  my  Lord  you  are  welcome,  wee  have  not  had 
your  company  amongst  us  long. 

Mar.     You  ever  had  my  heart,  though  the  Kings  service 
Commanded  still  my  person:  I  am  eas'd 
Of  a  great  burden  so  the  King  rest  pleas'd.  200 

Aud.   I  have  not  seene  a  man  hath  borne  his  disgrace  with 
more  patience ;  especially  to  be  f orc't  with  his  owne  hand 
to  deliver  up  his  honours  to  his  enemy. 

Bonv.   It  would  have  troubl'd  me,  I  should  not  brooke  it. 

King.   Command  yon  fellow  give  his  golden  Key  205 

To  the  Lord  Clinton;  henceforth  we  debarre  him 
Accesse  unto  our  Chamber,  see  it  done. 

1T»  D.  "Marsh.  I'll  do't  my  lord.  (He  advances  to,  and  then  addresses 
Chester.)" 

196  D.  "Oh,  my  lord,  you're  welcome,"  C.  writes  Clinton's  speech  as 
verse: 

"Oh,  my  lord,  you  are  welcome.    We  have  not  had 

Your  company  amongst  us  long."  This  is  no  more  metrical  than  the 
majority  of  Heywood's  prose  speeches. 

201  D.  "Aud.  (To  Bon.)" 


70  The  Royall  King  and  the  Loyall  Subject. 

Chest.   The  King  commands  you  to  give  up  your  Key 
Unto  that  Lord  that  neares  you :  henceforth  Sir, 
You  to  his  person  are  deny'd  accesse,  210 

But  when  the  King  commands. 

Mar.    Say  to  my  Liege, 

The  proudest  foe  he  hath,  were  he  an  Emperor, 
Should  not  have  forc't  the  least  of  these  from  me: 

But  I  acknowledge  these,  and  all  I  have,  215 

To  be  sole  his;  my  life  too,  which  as  willingly 
To  please  him  I  will  send :  I  thanke  his  Highnesse 
That  sees  so  into  my  debility, 
That  he  hath  care  to  ease  me  of  these  loads 
That  have  opprest  me  long ;  so  Sir  'tis  done :  220 

Come  Lords,  now  let's  be  merry,  and  drinke  round, 
After  great  tempests  we  a  calme  have  found. 

And.     This  Lord  is  of  an  unwonted  constancy, 
He  entertaines  his  disgraces  as  merrily  as  a  man  dyes  that  is 
tickled  to  death.  225 

King.     Cannot  all  this  stirre  his  impatience  up? 
I'le  search  his  breast  but  I  will  find  his  gaule: 
Command  him  give  his  Staffe  of  Councell  up, 
We  will  bestow  it  elsewhere  where  we  please. 

Chest.     The  King  would  have  you  to  forbeare  the  Coun- 
cel,  230 

And  to  give  up  your  Staffe. 

Mar.     I  shall  turne  man, 
Kings  cannot  force  to  beare  more  than  we  can. 

Chest.     Sir,  are  you  moov'd  ? 

"•  D.  "Chest.     (To  Marsh.)" 

"•  D.  and  C.    "Unto  that  lord  that's  near  you:" 

*"  D.  "So,  sir,  'tis  done,     f  Gives  the  key  to  Clinton.)" 

m  D.  "After  great  tempest."  S  at  the  end  of  words  is  often  omitted 
in  the  Dilke  edition,  where  one  can  but  suspect  a  misprint  rather  than 
an  emendation. 

*"  C.  prints  the  whole  of  Audley's  speech  as  prose. 

"•D.  "King.  (Aside)" 

"•D.  "Chest.  (To  Marsh.)" 


The  Royall  King  and  the  Loyall  Subject.  71 

Mar.     Those  that  are  wronged  may  speake:  235 

My  Lord,  I  let  you  know  my  innocence, 
And  that  my  true  and  unstain'd  Loyalty 
Deserves  not  this  disgrace;  none  ever  bore 
Like  eminence  with  me  that  hath  discharg'd  it 
With  better  zeale  and  conscience:  for  my  service  240 

Let  my  wounds  witnesse,  I  have  some  to  shew ; 
That  had  I  not  my  body  interpos'd, 
Had  beene  your  skarres:  all  my  deserved  honours 
You  have  bestow'd  upon  my  enemies, 

Ey  such  as  have  whole  skinnes. 245 

And  never  bled  but  for  their  ease  and  health. 

You  might  with  as  much  Justice  take  my  life, 

As  seaze  my  honours:  howsoe're  my  Lord 

Give  me  free  leave  to  speake  but  as  I  finde, 

I  ever  have  beene  true,  you  now  unkind.  250 

King.    Will  you  contest  ? 
What  have  you  Sir  that  is  not  held  from  us  ? 
Or  what  can  your  owne  vertue  purchase  you 
Without  our  grace?     Are  not  your  fortunes,  favours, 
And  your  revenewes  ours  ?  where  should  they  end  255 

But  where  they  first  began?  have  we  not  power 
To  give  our  owne  ?  or  must  we  aske  your  counsell, 
To  grace  where  you  appoint  ?  neede  we  a  Guardian, 
Or  aime  you  at  the  place  ? 

Mar.    Oh  my  dread  King,  260 

It  sorrows  me  that  you  misprize  my  love, 

tK  C.  "Those  are  that  wrong'd  may  speak, — " 

*~  wronged)     C.  "wrong'd,"  correctly,  without  doubt. 

241 A  semi-colon  is  certainly  too  strong  a  mark  here,  since  "that"  in 
the  following  lines  refers  back  directly  to  "some  to  shew."  D.  uses  no 
mark  at  all;  C.  a  comma. 

ta  skinnes.)  The  Quarto  seems  to  have  a  period  before  the  dash  here, 
though  the  mark  is  faint.  P.  prints  a  comma.  D.  and  C.  omit  the  dash. 

258  D.  "To  grace  where  we  appoint?"  notes  the  reading  of  the  Quarto. 
P.  notes  the  emendation  without  adopting  it.  It  seems  to  us  quite 
unnecessary.  The  reading  in  the  text  means:  "To  give  favor  as  you 
counsel  us." 


72  The  Royall  King  and  the  Loyall  Subject. 

And  with  more  freedome  I  could  part  with  life 

Then  with  your  Grace:  mj  offices  alas, 

They  were  my  troubles,  but  to  want  your  favours, 

That  onely    thus  afflicts  my  loyall  thoughts,  265 

And  makes  me  bold  to  tearme  your  Grace  unkind. 

King.    Sir,  we  command  you  to  abandon  Court, 
And  take  it  as  a  favour  that  we  now 
Not  question  of  your  life;  without  reply 
Leave  us.  270 

Mar.    I'le  leave  the  Court  as  I  would  leave  my  burden 
But  from  your  Highnesse  in  this  kind  to  part, 
Is  as  my  body  should  forsake  my  heart.  Exit. 

King.    Shall  we  not  be  ourselfe,  or  shall  we  brooke 
Competitors  in  reigne  ?  act  what  we  doe  275 

By  other  mens  appointment?  he  being  gone, 
We  are  unrival'd ;  wee'le  be  sole,  or  none. 

Prince.     The  Martiall's  gone  in  discontent  my  Liege. 

King.     Pleas'd,  or  not  pleas'd,  if  we  be  Englands  King, 
And  mightiest  in  the  Spheare  in  which  we  moove,         280 
Wee'le  shine  alone,  this  Phaeton  cast  downe, 
Wee'le  state  us  now  midst  of  our  best  affected : 
Our  new  created  Martiall  first  lead  on, 
Whose  Loyalty  we  now  must  build  upon.  Exit. 

Enter  Captaine  and  Clowne.  285 

Cap.     Sir,  now  attend  me,  I'le  to  the  Ordinary, 
And  see  if  any  of  my  ancient  friends  will  take  note  of  me. 
Where's  the  good  man  ?  within  ? 

**  Exit}  D.   "Exeunt."    C.  "Exeunt  omnes." 

**C.  "Captain  BONVILLE"  as  usual!  D.  "Enter  CAPTAIN  and  COCK." 
Note:  "In  the  quarto  it  is  'Enter  Captain  and  Clown.'  There  is  a 
confusion  throughout  the  play,  and  indeed  in  the  Dramatis  Personae." 

W8D.  and  C.  correct  the  arrangement.     D. : 

"Sir,  now  attend  me :  I'll  to  the  ordinary 

And  see  if  any  of  my  ancient  friends 

Will  take  note  of  me.  (Calls)    Where's  the  good  man?    Within?" 


The  Royall  King  and  the  Loyall  Subject.  73 

Clown.    There's  none  dwels  here ;  you  may  speak  with  the 
Master 
of  the  house  if  you  will.  Enter  the  Host.     290 

Clowne.     Captaine,  Captaine,  I  have  descri'd  an  Host. 

Cap.     An  Host?    Where?  which  way  march  they? 

Clown.    Mine  Host  of  the  house,  see  where  he  marches. 

Cap.    Here  take  my  cloake,  what  is't  not  Dinner-time  ? 
Are  there  no  gallants  come  yet  ?  295 

Host.     Why  Sir,  doe  you  meane  to  dine  here  today? 

Cap.    Here  doe  I  meane  to  cranch,  to  munch,  to  eate, 
To  feed,  and  be  fat  my  fine  Cullapolis. 

Host.  You  must  pardon  me  Sir,  my  house  intertaines  none 
but  Gentlemen ;  if  you  will  stand  at  gate,  when  Dinner's  300 
done,  I'le  helpe  you  to  some  fragments, 

Cap.   Sirrah,  if  your  house  be  free  for  Gentlemen,  it  is  fit 
for  me ;  thou  seest  I  keepe  my  man,  I've  Crownes  to  spend 
with  him  that's  bravest  here :  I'le  keepe  my  roome  in  spight 
of  Silkes  and  Sattins  305 

Host.    I  would  I  were  well  rid  of  this  ragge-muffin. 

Enter  two  Gentlemen. 

1.  Gent.    How  goes  the  day  ? 

2.  Gent.    It  cannot  yet  be  old,  because  I  see  no 
more  gallants  come. 

1.  Gent.     Mine  Host,  what's  here?  310 

Host.  A  Tatterdemalean,  that  stayes  to  sit  at  the  Ordinary 
to  day. 

180  D.  "Enter  HOST" 

294  D.  after  "cloake"  (To  Host) 

"*  D.  and  C.  "Calipolis,"  but  D.  does  not  capitalize. 

803  This  speech  should  be  written  as  verse,  so  D.  and  C. 

"•D,  "Host.    (Aside)" 

108  D.  prints :     "It  cannot  yet  be  old 

Because  I  see  no  more  gallants  come." 

*u  D.  more  verse  arrangement ! 

"Host.    A  tatterdemalion 

That  stays  to  sit  at  th'  ordinary  to-day." 


74  The  Royall  King  and  the  Loyall  Subject. 

2.  Gent.    Doest  know  him  ? 

Host.  I  did  when  he  was  flush,  and  had  the  Crownes ;  but 
since  he  grew  poore,  he  is  worne  quite  out  of  my  remem-  315 
brance.  He  is  a  decay'd  Captaine,  and  his  name  is  Bonvile. 

1.  Gent.     I  would  he  would  leave  this  place,  and 
ranke  himselfe  with  his  companions. 

Enter  two  more. 

2.  Gent.     Morrow  Gentlemen.  320 

3.  Gent.    The  morning's  past,  'tis  mid-day  at  the  least. 

4.  Gent.     What  is  the  roome  so  empty? 
Host.    And  please  your  worships, 

Here's  more  by  one  than  it  can  well  receive. 

5.  Gent.     What  Tatter's  that  that  walkes  there?         325 
4-   Gent.     If  he  will  not  leave  the  roome  kicke  him  downe 

staires. 

Cap.     There's  ne're  a  silken  outside  in  this  company 
That  dares  present  a  foot  to  doe  that  office : 
I'le  tosse  that  heele  a  yard  above  his  head  330 

That  offers  but  a  spume. 

1  Gent.    Can  we  not  be  private  ? 

Cap.  I  am  a  man  like  you  perhaps  well  bred, 
Nor  want  I  coyne,  for  harke,  my  pockets  chinke: 
I  keepe  my  man  to  attend  me  more  perhaps,  335 

Than  some  can  doe  that  goe  in  costlier  Silke. 
Are  you  so  fearefull  of  a  ragged  suite? 
They  were  first  paid  for  e're  they  were  put  on ; 
A  man  may  question  whether  yours  were  so. 
Who  kicks  first,  ha,  come;  have  you  minde  to  game?     340 

M'D.  "He  is  a  decay'd  captain,  and  his  name  Bonvile." 

w*  D.  "Enter  two  more  GENTLEMEN." 

»»  D.  "An  please"  etc. 

835  /  keepe  my  man)    D.  fails  to  italicize  the  "I." 

440  D.  and  C.  "Who  kicks  first,  ha?  Come,  have  you"  etc.  We  prefer 
the  reading  of  the  Quarto,  that  connects  "come"  with  the  challenge 
that  precedes.  See  note. 


The  Roy  all  King  and  the  Loyall  Subject.  75 

I'le  cast,  or  set  at  thus  much ;  will  you  card 
A  rest  for  this?  no?  then  let's  to  dinner: 
Come  serve  in  meate. 

1.  Gent.     Mine  Host,  prithee  put  this  fellow  out 
of  the  room, 

And  let  him  not  drop  his  shooe-clouts  here.  345 

2.  Gent.     Sfoot  dost  thou  meane  we  shall  goe  louzie  out  of 
the  house  ? 

8.  Gent.    If  he  will  not  goe  out  by  faire  meanes, 
Send  for  a  Constable. 

4.    Gent.     And  send  him  to  Bridewell  Ordinary;  whip- 
ping cheere  is  best  for  him  350 

Host.  Nay  pray  sir  leave  my  house,  you  see  the  Gentlemen 
will  not  endure  your  company. 

Cap.  Mine  Host,  thou  knewst  me  in  my  flourishing  prime : 
I  was  the  first  brought  custome  to  thine  house,  355 

Most  of  my  meanes  I  spent  here  to  enrich  thee; 
And  to  set  thee  up,  I've  cast  downe  my  selfe. 

Host.  I  remember  sir  some  such  matter,  but  you  see  the 
times  change.  Nay,  will  you  leave  the  Gentlemen? 

Cap.  The  Lease  of  this  house  hadst  thou  not  from  me  ?  360 
Did  I  not  give  thee  both  the  Fyne  and  Rent  ? 

Host.  I  must  needs  say  you  were  bountiful  when  you  had 
it,  but  in  troth  sir,  if  you  will  not  be  gone,  J  shall  be  forc't  to 
turne  you  out  by  the  head  and  shoulders. 

Cap.    And  is  not  all  this  worth  the  trusting  for  365 

an  Ordinary  ? 

Host.  Nay  if  you  prate,  I  shall  use  you  somewhat  extraor- 
dinary. Gent.  Downe  with  the  Rogue. 

m  thus  much)  D.  adds  "(takes  out  money)."  The  next  question 
he  misunderstands: 

"Will  you  card? 

A  rest  for  this:    no:    then  let's  to  dinner."    See  note. 

*"  Prose.  C.  prints  as  such. 

180  C.  "And  sent  him"  etc.     Probably,  a  misprint. 

•"P.  "Did  I  not  give  thee  both  the  Fyne  and  the  Rent?"  Clearly 
wrong. 


76  The  Roy  all  King  and  the  Loyall  Subject. 

Cap.  Since  you  hate  calmes,  and  will  move  stormy  weather, 
Now  Host  and  guest  shall  all  downe  staires  together. 

Clowne.  Ah  well  done  Master,  tickle  them  noble  370 
Captaine. 

Cap.  Come  Cock,  I  have  tooke  some  of  their  stomacks 
away  from  them  before  Dinner. 

Enter  the  Martiall  with  his  two  men,  and  his 
two  Daughters. 

Mar.    We  are  at  peace  now,  and  in  threatned  death     375 
We  doe  enjoy  new  life:  my  onely  comforts, 
The  image  of  my  late  deceased  wife, 
Now  have  I  time  to  surfeit  on  your  sight, 
Which  Court-imployments  have  debarr'd  me  long. 
Oh  Fortune,  thou  didst  threaten  misery,  380 

And  thou  hast  paid  me  comfort;  neede  we  ought 
That  we  should  seeke  the  suffrage  of  the  Court  ? 
Are  we  not  rich?  are  we  not  well  revenew'd? 
Are  not  the  Countrey-pleasures  farre  more  sweete 
Than  the  Court-cares?  Instead  of  balling  suiters  385 

Our  eares  receive  the  musicke  of  the  Hound; 
For  mounting  pride  and  lofty  ambition, 
We  in  the  Ayre  behold  the  Falcons  Tower, 
And  in  that  Morall  mock  those  that  aspire. 
Oh  my  good  King,  instead  of  threat  and  wrong,  390 

Thou  hast  brought  me  rest  which  I  have  wisht  so  long. 

Isabella.     Sir,  we  have  long  beene  Orphans  in  the  Coun- 
trey, 

*88  D.  "Since  you  hate  calms  and  will  more  stormy  weather, 

Now  host  and  guests  shall  all  down  stairs  together.  (Draws  and  beats 
them  out  of  the  room.)" 

873  D.  "Scene.  The  MARSHAL'S  House  in  the  Country.  Enter  MARSHAL 
and  his  two  DAUGHTERS" 

875  threatned)   D.  "threaten'd."    C.  "threat'ned." 

384  B  D.  "country  pleasures"  "court  cares."    C.  "Court  cares." 

388  C.  "Falcon's  tower."  See  note. 

891  C.  "Thou'st  brought"  etc. 


The  Roy  all  King  and  the  Loyall  Subject.  77 

Whilst  you  still  followed  your  affairs  at  Court; 

We  heard  we  had  a  Father  by  our  Guardian, 

But  scarce  till  now  could  we  enjoy  your  sight.  395 

Katherine.    Nor  let  it  seeme  offensive  to  your  love, 
That  we  in  your  retirement  should  take  pride,  , 

The  King  in  this  pursues  our  greater  happinesse, 
And  quickens  most  where  he  would  most  destroy. 

Mar.    You  are  mine  owne  sweet  girles  &  in  your  vertues, 

400 

I  place  my  sole  blisse;  you  are  all  my  honours, 
My  favours,  state,  and  offices  at  Court: 
What  are  you  not  ?  Let  the  King  take  my  lands, 
And  my  possession,  and  but  leave  me  you, 
He  leaves  me  rich;  more  would  I  not  desire,  405 

And  lesse  he  cannot  grant.  Enter  a  servant. 

Serv.     One  from  the  King. 
Attends  your  honour,  and  his  urgency 
Craves  quick  dispatch. 

Mar.     Ladies  withdraw  a  little,  410 

I  long  to  know  what  mischiefe's  now  afoot; 
Wee'le  front  it  be  it  death,  ey  and  march  towards  it. 
A  Chaire,  admit  the  Herald,  let  him  in ; 
We  are  arm'd  'gainst  what  can  come,  our  breast  is  true, 
And  that's  one  Maxim,  what  is  forc't,  is  wrong,  415 

We  can  both  keepe  our  heart  and  guide  our  tongue. 

Enter  the  servant  ushering  in  Chester. 

Chest.  Sir,  the  King  greets  you,  and  commands  you  effect 
His  will  in  this;  you  know  the  Character. 

m  followed.)     C.  "follow'd"  correct. 

410 Ladies  withdraw)  C.  "(Exeunt  daughters."  Note:  "It  is  clear 
that  the  two  daughters  go  out;  and  it  will  be  seen  that  just  afterwards 
they  return :  their  exit  is  not  marked  in  the  old  copy,  but  it  is  necessary. 
The  same  may  be  said  of  the  next  stage-direction,  which,  with  some 
others,  is  new  in  our  reprint."  D.  "(Isab.  and  Cath.  retire." 

«*•  Character)  C.  adds:  "(Gives  a  letter."  D.  inserts  after  "his  will 
in  this"  "(delivers  a  letter.)" 


78  The  Royall  King  and  the  Loyall  Subject. 

Mar.  My  good  Lord  Martiall  you  are  welcome  hither,  420 
These  lines  I  kisse  because  they  came  from  him. 

Chest.     You'le  like  the  letter  better  than  the  style: 
Ha,  change  your  face  ?  is  your  blood  moov'd  to  the  tyde, 
Or  ebbes  it  to  your  heart? 

Mar.    Thou  hast  two  Daughters,  He  reads.     425 

Faire  by  report,  her  whom  thou  lov'st  best 
Send  to  the  Court:  it  is  thy  Kings  behest^ 
Doe  this  on  thy  allegeance. 

Chest.    Sir  your  Answer? 

Mar.   I  pray  Sir  deale  with  men  in  misery  430 

Like  one  that  may  himself e  be  miserable : 
Insult  not  too  much  upon  men  distrest, 
Play  not  too  much  upon  my  wretchednesse ; 
The  noble  minds  still  will  not  when  they  can. 

Chest.     I  cannot  stay  for  answer,  pray  be  brief  e.       135 

Mar.    You  are  more  welcome  than  your  message  Sir, 
And  yet  that's  welcome  comming  from  my  King; 
Pray  Sir  forbeare  me,  'tis  the  Kings  command, 
And  you  shall  know  mine  answer  instantly: 
Receive  him  nobly.  440 

Chest.     I  shall  waite  your  pleasure. 

Mar.     Malice,   revenge,   displeasure,   envy,    hate, 
I  had  thought  that  you  had  onely  dwelt  at  Court, 
And  that  the  Countrey  had  beene  cleere  and  free: 
But  from  Kings  wraths  no  place  I  finde  is  safe.  445 

My  fairest  daughter?  had  the  King  commanded 
One  of  my  hands,  I  had  sent  it  willingly; 

421 D.  "Chest,  (aside)." 

***  change  your  face)  D.  "changes  your  face  ?"  A  better  reading  would 
be:  "change  you  face,"  i.  e.,  "do  you  change  face,"  Cf.  line  45,  "why 
to  change  face"  etc.,  V,  129. 

*»  D  cc  Marsh.  (Reads)  "Thou  hast,"  etc. 

**  lov'st  best)  C.  corrects :     "lovest  best." 

***  D.  "The  noble  mind"  etc.    An  S  is  again  omitted. 

**°D.  "(To  servant)  Receive  him"  etc. 

441  your  pleasure)    C.  "Exit."    D.  "Exeunt  Chester  and  Servant." 


The  Eoyall  King  and  the  Loyall  Subject.  79 

But  her !  yet  Kings  must  not  be  dallied  with, 

Somewhat  I  must  resolve  to  breed  of  force 

Treason  or  to  my  blood,  or  to  my  King,  450 

False  Father,  or  false  Subject  I  must  proove, 

Be  true  to  him  I  serve,  or  her  I  love, 

Somewhat  I  must:  my  Daughters,  call  them  in: 

Enter  one  ushering  the  Ladies. 

Leave  them  and  us.  455 

Ladies  I  must  be  blunt,  the  King's  displeas'd, 

And  hearing  of  two  children  whom  I  love, 

My  patience  and  my  loyalty  to  try, 

Commands  that  she  whom  I  love  best  must  dye. 

Isab.    Dye  ?  'las  that's  nothing ;  must  not  all  men  so  ?     460 
And  doth  not  Heaven  crowne  martyr'd  innocence  ? 
I  was  afraid  my  Lord  the  King  had  sent 
To  have  strumpetted  the  fairest  of  your  blood: 
An  innocent  death  my  Lord  is  crowne  of  rest, 
Then  let  me  dye  as  her  whom  you  love  best.  465 

Kath.     If  but  to  dye,  prove  that  you  love  me  then ; 
Death  were  most  welcome  to  confirme  your  love. 
Alas  my  Sister,  she  hath  not  the  heart 
To  looke  upon  a  rough  Tormentors  face : 
I  am  bold  and  constant,  and  my  courage  great ;  470 

As  token  of  your  love  then  point  out  me. 

Mar.     Alas  my  girles  for  greater  ills  prepare, 
Death  would  end  yours,  and  somewhat  ease  my  sorrows: 
What  I  must  speake,  containes  Heavens  greatest  curse, 
Search  all  the  world,  you  can  find  nought  so  ill.  475 

Isab.    Speak't  at  once. 

453  My  Daughters)    Again,  as  in  410,  an  address  to  one  of  the  "men" 
said  to  enter  with  the  Martiall.    Evidently  he  goes  out  and  immediately 
re-enters. 

454  D.  alters  to  "Enter  Servant,  ushering  them  in." 
466  D.  adds  "Exit  Servant." 

483  To  have)   C.  "Thave." 

*••  Kath.)   D.  spells  Cath.  throughout. 

"•Speak't)   C.  corrects  "Speak  it." 


80  The  Royall  King  and  the  Loyall  Subject. 

Mar.     Her  whom  I  best  affect, 
The  King  intends  to  strumpet. 

Kath.    Blesse  me  Heaven ! 

Mar.    Should  he,  480 

Kath.    By  all  my  joyes  Fie  sooner  dye 
Then  suffer  it. 

Isdb.     And  so  by  Heaven  will  I. 

Mar.    Now  you  are  mine  indeed,  who  would  forgoe 
One  of  these  jemmes  so  fine,  and  valued  so?  485 

But  passion  give  me  leave,  the  King  commands, 
I  must  obey.     The  fairest  he  sent  for; 
None  of  my  daughters  have  beene  seene  at  Court, 
Nor  hath  the  ambitious  Chester  view'd  them  yet: 
My  eldest  then  shall  goe,  come  hither  girle;  490 

I  send  thee,  (Heaven  knowes)  whether  to  thy  death 
Or  to  thine  honour;  though  he  envie  me, 
Yet  in  himselfe  the  King  is  honourable, 
And  will  not  stretch  his  malice  to  my  child. 
The  worst  I  feare;  and  yet  the  best  I  hope.  495 

I  charge  thee  then  even  by  a  fathers  name, 
If  the  King  daine  to  take  thee  to  his  bed 
By  name  of  Queene,  if  thou  perceiv'st  thy  selfe 
To  be  with  child,  conceale  it  even  from  him; 
Next,  when  thou  find'st  him  affable  and  free,  500 

Finde  out  some  talke  about  thy  Sister  here, 
As  thus;  thy  Father  sent  thee  but  in  jest, 
Thy  Sister's  fairest,  and  I  love  her  best. 

Isdb.     It  may  incense  the  King, 

Mar.     What  I  intend  505 

Is  to  my  selfe,  inquire  no  further  of  it. 

Isab.    I  shal  performe  your  will,  and  thus  resolv'd 
To  be  a  Martyr  e're  a  Concubine. 
But  if  the  King  afford  me  further  favour, 

«°  D.  C.  "should  he—" 

490  D.  "My  eldest  then  shall  go.    (To  Isab.)  Come  hither,  girl." 

4M  D.  "I  send  thee,  heaven  knows  whether  to  thy  death 

Or  to  thine  honour!"  C.  has  no  italics  or  exclamation. 


The  Roy  all  King  and  the  Loyall  Subject.  81 

In  my  close  bosome  your  last  words  I'le  place.  510 

Mar.   Sister  and  Sister  part,  be  you  not  scene, 
Bid  her  farewell,  a  Martyr  or  a  Queene. 
They  cannot  speake  for  teares,  alas  for  woe, 
That  force  should  part  Sister  and  Sister  thus, 
And  that  the  Child  and  Father  of  one  heart,  515 

Commands  and  powerful  threats  should  thus  divide. 
But  Chester  stayes,  within  there  ?  Enter  servant. 

Serv.    My  Lord  ? 

Mar.     Have  you  receiv'd  Earle  Chester  honourably? 

Serv.    The  noblest  welcome  that  the  house  could  yeeld  520 
He  hath  had  my  Lord,  nothing  was  held  too  deere  : 
He  much  extolls  your  bounty. 

Mar.     Usher  him  in,  we  are  now  ready  for  him. 

Serv.     I  shall  my  Lord. 

Enter  Chester.  525 

Chest.     Sir,  I  have  stay'd  your  leasure,  now  your  Answer  ? 

Mar.     That  I  obey,  the  fairest  of  my  girles 
I  send  the  King. 

Chest.     I  easily  can  beleeve 

That  this  the  fairest  is,  her  like  in  Court  530 

Lives  not;  she  is  a  Present  for  a  King. 

Mar.     Say  to  the  King  I  give  her,  but  conditionally, 
That  if  he  like  not  this  fairest  of  the  two, 
Unstain'd  he  will  his  gift  send  backe  againe. 

Chest.     I  shall,  come  Lady.  535 

Mar.    My  Lord,  I  doe  not  load  you  with  commends 
And  duties  which  I  could  doe,  to  the  King: 
I  know  your  love  your  memory  may  faile  you, 


Be  you  not  seen," 

512  Queene)  C.  "Exit  KATHEBINE." 

514  thus)  D.  "Exit  Cath." 

817  within  there?)  D.  and  C.  "But  Chester  stays.  —  Within,  there!" 
This  is  not  the  first  case  in  which  the  Quarto  has  given  us  an  interro- 
gation point  where  we  should  expect  an  exclamation.  The  latter  are 
used  very  sparingly. 

6 


82  The  Royall  King  and  the  Loyall  Subject. 

And  you  them  all  may  scatter  by  the  way. 

Doe  thou  a  Fathers  duty  thus  in  teares,  540 

And  send  me  how  thou  speed'st  to  free  these  feares.   Exeunt. 


Actus  tertius.  1 

Enter  Clowne  and  the  Lady  Mary. 

Mary.     Came  you  from  him? 

Clowne.     Yes,  if  it  please  your  Maidenship;  my  Master 

sends 

you  word  he  is  the  old  man,  and  his  suite  is  the  old  suite  still  5 
and  his  cloaths  the  old  cloaths;  He  scornes  to  be  a  change- 
ling, or  a  shifter ;  he  feares  nothing  but  this,  that  he  shall 
fall  into  the  Lord  your  fathers  hands  for  want  of  repara- 
tions. 

Mary.    We  know  thy  meaning,  here  beare  him  this  gold,  10 
And  bid  him  suite  him  like  the  man  he  was, 
Bid  him  to  face  the  proudest  hee  in  Court; 
He  shall  not  want  whilst  we  have. 

Clowne.     That  was  out  of  my  Commission  Lady,  Gold 
tempts,  I  have  commandment  not  to  touch  it ;  'tis  another    15 
thing  he  aymes  at :  it  is  a  thing,  but  I  know  not  what  man- 
ner of  thing;  but  something  it  is,  and  he  vowes  not  to  shift" 
a  shirt  till  he  be  further  resolv'd :  hee  onely  sends  you  Com- 
mendations, and  withall  to  know  if  you  woud  stand  to 
your  word.  20 

Mary.     He  wrongs  me  to  cast  doubts: 

540  D.  "(To  Isab.J    Do  thou  a  father's  duty"  etc. 
1  D.  "Act  III,  Scene  I." 

*D.  "Enter  COCK  and  LADY  MABY."    C.  "Enter  Clown  and  the  Lady 
MABY  AUDLEY." 

3  D.,  C.  "L.  Mary."  So  throughout. 

*  reparations)   D.  "reparation." 

14  Clowne.     That  was}    D.  "Cook.    This  was"  etc. 


The  Royall  King  and  the  Loyall  Subject.  83 

Tell  him  I  am  the  same  I  ever  was, 

And  ever  will  continue  as  I  am. 

But  that  he  should  disdaine  this  courtesie 

Being  in  want,  and  comming  too  from  me,  25 

Doth  somewhat  trouble  me. 

Clowne.    We  want  Madam  ?  you  are  deceiv'd,  wee  have 
store,  of  ragges;  plenty,  of  tatters;  aboundance,  of  jagges; 
huge  rents,  witnesse  our  breeches;  ground  enough  to  com- 
mand, for  we  can  walke  where  we  will,  none  will  bid  us     30 
to  Dinner;  houses  rent-free,  and  goodly  ones  to  chuse 
where  we  will;  the  Martialsie,  the  Counter,  Newgate, 
Bridewell ;  and  would  a  man  desire  to  dwell  in  stronger  buil- 
dings ?  and  can  you  say  that  we  are  in  want  ?  No  Lady,  my 
Captaine  wants  nothing  but  your  love,  and  that  he  intreats  35 
you  to  send  by  me  the  bearer. 

Mary.     I  doe,  with  all  the  best  affection 
A  Virgin  can  bestow  upon  her  friend. 

Clowne.     I  dare  sweare  he  is  an  honest  man,  but  I  dare 

not 
say  he  is  a  true  man. 

Mary.    How,  not  a  a  true  man  ? 

Clowne.     No;  for  hee  hath  sworne  to  steale  you  away, 
and  thus  I  prove  it ;  if  he  steale  you  away,  I  am  sure  you  will 
not  goe  naked ;  he  cannot  steale  you,  but  he  must  steale  the 
cloaths  you  have  on;  and  he  that  steales  apparrel,  what  is  he 

45 

but  a  Theefe  ?  and  hee  that  is  a  Theefe  cannot  be  a  true  man 
Ergo. 

Mary.    That  is  no  theft  when  men  but  steale  their  owne, 
And  I  am  his,  witnesse  this  Diamond, 
Which  beare  him,  and  thus  say,  that  no  disaster  50 

Shall  ever  part  me  from  his  company. 

38  ff.  C.  omits  the  commas  after  "store,"  "plenty,"  and  thus  partly 
destroys  the  sense  of  the  Clown's  speech.  D.  punctuates  by  dashes, 
which  give  the  pause  values  of  the  Quarto,  at  least:  "store — of  rags" 
etc. 

48  D.  "That  is  not  theft"  etc. 


84  The  Royall  King  and  the  Loyall  Subject. 

Clowne.   I  shall  beare  this  with  as  good  will  as  you  would 
beare  him,  Vtcunque  volumus. 

Mary.     What  are  we  but  our  words  ?  when  they  are  past, 
Faith  should  succeed,  and  that  should  ever  last.  55 

My  Father  ?  Enter  Audley. 

Aud.     Wots  thou  who's  returnd, 
The  unthrift  Bonvile,  ragged  as  a  scarre-crow, 
The  Warres  have  gnaw'd  his  garments  to  the  skinne: 
I  met  him,  and  he  told  me  of  a  Contract.  60 

Mary.     Sir,  such  a  thing  there  was. 

Aud.     Upon  condition  if  he  came  rich. 

Mary.     I  heard  no  such  exception. 

Aud.     Thou  doest  not  meane  to  marry  with  a  begger? 

Mary.    Unlesse  he  he  a  Gentleman,  and  Bonvile  65 

Is  by  his  birth  no  lesse. 

Aud.     Such  onely  gentile  are,  that  can  maintaine 
Gentily. 

Mary.     Why,  should  your  state  faile  you, 
Can  it  from  you  your  honours  take  away  ?  70 

Whilst  your  Allegeance  holds,  what  need  you  more, 
You  ever  shall  be  noble  although  poore. 

Aud.     They  are  noble  that  have  nobles;  gentle  they 
That  appeare  such. 

Mary.     Indeed  so  wordlings  say:  75 

But  vertuous  men  proove  they  are  onely  deare 
That  all  their  riches  can  about  them  beare. 

Sound:  Enter  the  King,  Clinton,  Bonvile,  Prince,  Princesse. 

King.    Is  not  Earle  Chester 
Return' d  yet  with  an  answer  from  the  Martiall  ?  80 

M  D.  utcunque  volumus.     (Exit." 

MC.  "My  father!     Enter  the  Lord  Audley." 

"  D.  and  C.  "Wott'st  thou  who's  return'd  ?" 

*  Gentily.}  Corrected  in  D.  and  P.  to  "Gentility." 

"  C.,  D.  "what  need  you  more?" 

77  beare.)  C.  "[Exit  LADY  MARY." 

78  Sound:)    D.  "Flourish."  etc. — "and  PRINCESS."    C.  "Lord  CLINTON, 

BONVIIiE." 


The  Roy  all  King  and  the  Loyall  Subject.  85 

Prince.     Not  yet  my  Lord. 

King.     For  such  contention  we  now  scorne  revenge, 
Wee'le  try  the  utmost  of  his  patience  now: 
We  would  exceed  our  love,  if  it  appeare, 
He  will  hold  nothing  for  his  King  too  deere.  85 

Aud.    Earle  Chester  is  return' d. 

Enter  Chester  and  Isabella. 

King.     Hast  brought  her  Chester? 

Chest.     Her  whom  her  father  the  most  faire  esteemes, 
He  hath  sent  by  me,  onely  with  this  request,  90 

That  if  his  free  gift  doe  not  like  your  Highnesse, 
You'le  send  her  backe  untoucht  to  his  embrace. 

King.     I  feare  we  shall  not,  she  appeares  too  faire, 
So  streightly  to  part  with ;  what  is  he  would 
Attempt  such  virgin-modesty  to  staine  95 

By  hopes  of  honour,  flatteries,  or  constraint? 
How  doe  you  like  her  ?  your  opinions  Lords  ? 

Prince.  A  beauteous  Lady,  one  that  hath  no  peere 
In  the  whole  Court. 

King.     Therefore  I  hold  her  precious.  100 

Princesse.     A  fairer  face  in  Court  who  ever  saw  ? 
Her  beauty  would  become  the  name  of  Queene. 

Clin.     One  of  more  state  or  shape  where  shall  we  finde  ? 

Aud.     Her  modesty  doth  doe  her  beauty  grace, 
Both  in  her  cheeke  have  chus'd  a  soveraigne  seate.  105 

King.    You  have  past  censure  Lady,  now  you're  mine, 
And  by  your  Fathers  free  gift  you  are  so, 
To  make,  or  marre;  to  keepe,  or  bestow. 

Isab.     It  glads  me  I  am  present  to  a  King, 
Whom  I  have  alwayes  heard  my  father  tearme  110 

Royall  in  all  things ;  vertuous,  modest,  chaste ; 
And  to  have  one  free   attribute  besides, 

"flatteries)   D.  "flattery." 

109  or   bestow.)     All   eds.   insert   "to,"   D.    and   C.    in   brackets.     The 
omission  is  clearly  that  of  the  printer. 


86  The  Royall  King  and  the  Loyall  Subject. 

Which  even  the  greatest  Emperour  need  not  scorne, 

Honest ;  to  you  if  you  be  such  my  Liege, 

A  Virgins  love  I  prostrate,  and  a  heart  115 

That  wishes  you  all  goodnesse  with  the  duty 

Of  a  true  subject,  and  a  noble  father; 

Then  mighty  Prince  report  your  subject  noble, 

Since  all  those  vertues  you  receive  in  me. 

King.     Thou  hast  o'recome  us  all ;  that  thou  hast  tearm'd 
us  120 

Wee'le  strive  to  be,  and  to  make  good  those  attributes 
Thou  hast  bestow'd  upon  us,  rise  our  Queene, 
Thy  vertue  hath  tooke  off  the  threatning  edge 
Of  our  intended  hate:  though  thou  art  ours 
Both  by  free  gift  and  duty,  which  we  challenge  125 

As  from  a  subject;  though  our  power  could  stretch 
To  thy  dishonour,  we  proclaime  thee  freed, 
And  in  this  grace  thy  father  we  exceed. 

Prince.    The  King  in  this  shews  honour :  Princes  still 
Should  be  the  Lords  of  their  owne  appetites, 
And  cherish  vertue. 

King.    Have  I  your  applause  ? 

Bon.    Your  Highnesse  shews  both  Royalty  and  Judgment 
In  your  faire  choice. 

King.     Are  your  opinions  so?  135 

Aud.     Farre  be  it  mighty  King  we  should  distast 
Where  you  so  well  affect. 

Princesse.     For  grace  and  feature 
England  affords  not  a  more  compleate  Virgin. 

Clin.    Were  she  not  the  Martials  daughter,  140 

I'd  tearme  her  worthy  for  my   Soveraignes  Bride. 

Chest.    Ey  that's  the  griefe. 

King.    This  kisse  then  be  the  Scale, 
Thou  art  our  Queene,  and  now  art  onely  mine. 

» 

m  D.  adds  "(Kneels." 

140  D.  "Clint.  (Aside  to  Chest.)  Were  she"  etc. 

ltt  D.  adds  "(Kisses  Isabella." 


The  Royall  King  and  the  Loyall  Subject.  87 

Isab.    May  I  become  your  vassall  and  your  Hand-maid, 145 
Titles  but  equall  to  my  humble  birth: 
But  since  your  Grace  a  higher  title  daines, 
Envy  must  needs  obey  where  power  compells. 
Give  expeditious  order  for  the  Rites 

Of  these  our  present  Nuptials  which  shall  be  150 

Done  with  all  State,  and  due  solemnity; 
And  Martiall  in  this  businesse  thou  shalt  finde 
Thy  selfe  defective,  and  not  us  unkind. 

Enter  servant. 

Serv.    Health  to  your  Highnesse.      King.    Whence?  155 

Ser.     From  my  sad  Master, 
Your  Martiall  once,  now  your  dejected  vassall, 
And  thus  he  bid  me  say:  If  the  King  daine 
To  grace  my  daughter  with  the  stile  of  Queene, 
To  give  you  then  this  Casket  which  containes  160 

A  double  dower;  halfe  of  this  mighty  summe 
He  out  of  his  revenewes  had  afforded, 
Had  she  bin  match  but  to  a  Barons  bed ; 
But  since  your  Highnesse  daines  her  for  your  Bride, 
And  his  Alliance  scornes  not  to  disdaine,  165 

He  saith  a  double  dower  is  due  to  you. 

King.    He  strives  to  exceed  us  still ;  this  emulation 
Begets  our  hate,  and  questions  him  of  life, 
This  Dower  we  take,  his  Daughter  entertaine, 
But  him  we  never  shall  receive  to  grace.  170 

Beare  not  from  us  so  much  as  love  or  thankes: 
We  onely  strive  in  all  our  actions 
To  be  held  peerelesse  for  our  courtesie 
And  Royall  bounty,  which  appeares  the  worse, 
Since  he  a  Subject  would  precede  his  Prince:  175 

149158  All  eds.  give  these  lines  to  the  King.  D.  notes:  "In  the  quarto 
this  is,  beyond  question  erroneously,  thie  continuation  of  Isabella's 
speech."  C.  has  a  note  to  the  same  effect,  copied  in  P. 

"•  D.  "He  sayeth." 


88  The  Royall  King  and  the  Loyall  Subject. 

And  did  we  not  his  Daughter  dearely  love, 

Wee'd  send  her  backe  with  scorne,   and  base  neglect. 

But  her  we  love,  though  him  in  heart  despise, 

Pay  him  that  thanks  for  all  his  courtesies. 

Serv.    In  this  imployment  I  will  strive  to  doe  180 

Th'  office  of  a  subject,  and  of  servant  too. 

King.      Since  to  that  emulous   Lord  we  have  sent  our 

hate, 
Come  to  our  Nuptials  let's  passe  on  in  state.    Exit. 

Enter  Captaine  and  Clowne.  184 

Cap.  The  humours  of  Court,  Citty,  Campe,  and  Country 
I  have  trac't,  and  in  them  can  finde  no  man,  but  money ;  all 
subscribe  to  this  Motto,  Halo  pecuniam  viro.  Oh  poverty, 
thou  art  esteem'd  a  sinne  worse  than  whoredome,  gluttony, 
extortion,  or  usury: 

And  earthly  gold,  thou  art  preferr'd  'fore  Heaven.  190 

Let  but  a  poore  man  in  a  thred-bare  suite, 
Or  ragged  as  I  am,  appeare  at  Court, 
The  fine-nos'd  Courtiers  will  not  sent  him;  no, 
They  shunne  the  way  as  if  they  met  the  Pest: 
Or  if  he  have  a  suite,  it  strikes  them  deafe,  195 

They  cannot  heare  of  that  side. 

Clown.  Come  to  the  Citty,  the  Habberdasher  will  sooner 
call  us  blockheads,  than  blocke  us;  come  to  the  Sempsters, 
unlesse  we  will  give  them  money,  we  cannot  enter  into  their 
bands :  though  we  have  the  Law  of  our  sides,  yet  wee  may  200 
walke  through  Burchin-lane  and  be  non-suited:  come  bare- 

181  D.  "The  office" 

1M  C.  punctuates :  "Come  to  our  nuptials :  let's  pass  on  in  state." 
"Come,  to  our  nuptials  let's  pass  on  in  state,"  seems  preferable. 

m  Exit)  D.,  C.  "Exeunt." 

IM  D   "Enter  CAPTAIN  AND  COCK."    C.  "Enter  Captain  BONVILLE"  etc. 

1B1  Let)  This  word  must  have  been  missing  from  C.'s  quarto,  for  he 
prints  the  following  note:  "The  word  Let  seems  to  have  dropped  out  of 
this  line :  it  is  clearly  wanting  for  the  sense  of  the  passage." 

117  Clown)    D.  "Cock"  as  usual. 


The  Roy  all  King  and  the  Loyall  Subject.  89 

foot  to  a  Shooe-maker,  though  he  be  a  Constable,  he  will 

not 

put  us  into  his  Stocks ;  though  the  Girdler  be  my  brother,  yet 
he  will  not  let  his  leather  imbrace  me ;  come  to  the  Glover, 
his  gloves  are  either  so  little  that  I  cannot  plucke  them  on, 
or  205 

so  great  that  I  cannot  compasse.  And  for  the  Campe  there's 
honour  cut  out  of  the  whole  peace,  but  not  a  ragge  of  mo- 
ney. 

Cap.     The  Countrey  hath  alliance  with  the  rest:  my  pur- 
pose is  now  I  have  so  thorowly  made  proofs  of  the  humours 
of  men,  I  will  next  assay  the  dispositions  of  women,  not  of 
the  choicest,  but  of  those  whom  we  call  good  wen- 
ches. 

Clowne.  Pray  Master  if  you  goe  to  a  house  of  good  fel- 
lowship, give  me  something  to  spend  upon  my  Cockatrice; 

215 
if  I  have  nothing  about  me,  I  shall  never  get  in. 

Cap.  Ther's  for  you  sirrah ;  doth  not  the  world  wonder  I 
should  be  so  flush  of  money,  and  so  bare  in  cloaths  ?  the  rea- 
son of  this  I  shall  give  account  for  hereafter:  But  to  our 

pur- 
pose, here  they  say  dwels  my  Lady  Bawdy-face,  here  will 

220 
we  knock. 

Enter  Bawd. 

Bawd.    Who's  there  ?  what  would  you  have  ?  ha  ? 
Cap.     Sweet  Lady  we  would  enter ;  nay  by  your  leave. 
Bawd.     Enter  ?  where  ?  here  be  no  breaches  for  you  to  en- 

225 
ter  truely. 

Cap.     And  yet  we  are  souldiers,  and  have  venter'd  upon 

as 
hot  service  as  this  place  affords  any. 

Bawd.     Away  you  base  companions,  we  have  no  breaches 

!1TD.  "There's  for  you,  sirrah.     (Gives  him  money.)" 


90  The  Royall  King  and  the  LoyaLl  Subject. 

for  such  tatter'd  breeches,  we  have  no  patches  to  suite  with 

230 
your  ragges. 

Cap.    Nay,  pray  give  way. 

Bawd.    Away  you  rogues,  doe  you  come  to  shake  your 
ragges  here  ?  doe  you  thinke  we  can  vent  our  ware  without 
money  you  rascals  ?  get  you  from  my  doore  you  beggerly  235 
companions,  or  I'le  wash  you  hence  with  hot  scalding  wa- 
ter. 

Clown.    Nay  I  warrant  her,  wenches  can  afford  her  that  at 
all  times. 

Bawd.     Doe  I  keepe  house  to  entertaine  Tatterdemaleans 

240 
with  a  Poxe,  you  will  be  gone  ? 

Cap.    We  must  forbeare,  the  gallants  are  out  of  patience, 
stand  aside.  Enter  two  Gentlemen. 

1.  Gent.     I  would  faine  goe  in,  but  I  have  spent  all  my 

mony. 

2.  Gent.    No  matter,  they  shall  not  know  so  much  till  we 

245 
get  in,  and  then  let  me  alone,  I'le  not  out  till  I  be  fir'd  out. 

1.  Gent.     Then  let's  set  a  good  face  of  the  matter, 
By  your  leave  Lady. 

Bawd.    You're  welcome  Gentlemen. 

1.  Gent.     What  fellows  be  yon  ?  250 

Bawd.    Two  poore  souldiers  that  came  for  an  almes  and 
please  you,  that  stay  for  some  reversions ;  there's  none  such 
come  into  my  house  I  warrant  you. 

238  C.  "Nay,  I  warrant,  her  wenches"  etc.    A  better  punctuation. 

241  D.  "with  a  pox!"   C.  "with  a  pox?" 

242  Both  D.  and  C.  read :  "We  must  forbear  the  gallows  out  of  patience" 
without  a  note!    P.  has  the  reading  in  the  text,  which  certainly  better 
fits  the  situation.     The  "two  Gentlemen"  have  evidently  been  waiting 
some  time  for  the  Captain  to  make  way  for  them.     The  Quartos  may 
differ,  see  notes. 

248  D.  "(To  Bawd)  By  your  leave,  Lady." 
251  D.  "an  please  you," 


The  Royall  King  and  the  Loyall  Subject.  91 

2.  Gent.    Save  you  sweet  Lady. 

Bawd.     Where    be    those    kitchinstuffes    here,    shall  we 
have  255 

no  attendants?  shew  these  Gentlemen  into  a  close  roome, 
with  a  standing  bed  in't,  and  a  truckle  too ;  you  are  welcome 
Gentlemen. 

Cap.     'Tis  geenrall  thorow  the  world,  each  state  esteemes 
A  man  not  what  he  is,  but  what  he  seemes:  260 

The  purest  flesh  rag'd  can  no  entrance  have, 
But  It'ch  and  all  disease  if  it  come  brave, 
Wide  open  stand  the  gates  of  lust  and  sin, 
And  those  at  which  the  wide  world  enters  in. 
Madam,  to  be  short,  I  must  have  a  wench,  though  I  am  rag- 

265 

ged  outward,  I  am  rich  inward :  here's  a  brace  of  Angels  for 
you,  let  me  have  a  pritty  wench,  I'le  be  as  bountiful  to  her. 

Bawd.     Your  Worship's  very  heartily  welcome:  wher's 
Sis?  Where's  loyce?  the  best  roome  in  the  house  for 
the  Gentleman:   call  Mistris  Priscilla,   and  bid  her  keepe 
the  2YO 

Gentleman  company. 

Cap.     I'le  make  bold  to  enter. 

Bawd.    Your  Worship's  most  lovingly  welcome :  let  the 
Gentleman  have  attendance,   and  cleane  linnen  if  he  need 

any; 
whither  would  you,  you  rogue?  275 

Clown.    Marry  I  would  after  my  Master. 

Bawd.     Thy  Master  ?  why  is  yon  raggamuffin  able  to  keep 
a  man? 

""C.  "Where  be  those  kitchen-stuffs?    Here!     shall  we"  etc. 

254  D.  "attendance?    (Enter  Servant)  Show"  etc. 

258  D.  "gentlemen.     (Exeunt  Gent,  and  Serv." 

289  C.  "through." 

•"D.  and  C.  "itch." 

285  D.  "(To  Bawd)." 

™  to  enter)  D.  "(Goes  in."    C.   "Exit." 

274  Gentleman)  P.  "Gentlemen." 

OTD.  "(To  Cock)  Whither"  etc. 


92  The  Royall  King  and  the  Loyall  Subject. 

Clown.     Ey  that  he  is  able  to  keepe  a  man,   and  him- 
self e  too. 

Bawd.  Then  that  man  must  be  able  to  pay  for  himselfe 
too,  or  else  he  may  coole  his  heeles  without  if  his  appetite 
be  hot. 

Clown.    Then  shall  I  not  goe  in  ? 

Bawd.    No  by  my  Mayden-head  shal  you  not,  nor  any  such 
beggerly  companion  shall  enter  here  but  he  shall  come  tho- 

285 
row  me  too.  Shakes  a  purse. 

Clown.    No  ?  what  remedy  ?  ha,  ha ;  hee  that  rings  at  a 
doore  with  such  a  Bell,  and  cannot  enter?  Well,  if  there  be 
no  remedy,  I'le  even  stay  without. 

Bawd.     Oh  me !  is  it  you  Sir  ?  and  are  so  strong,  to  stand 
at  290 

the  doore?  Pray  will  you  come  neare?  your  Master  is  new 
gone  in  afore:  Lord,  Lord,  that  you  would  not  enter  with- 
out trusting !  you  were  even  as  f arre  out  of  my  remembrance 
as  one  that  I  had  never  seene  afore. 

Clown.    I  cannot  blame  you  to  forget  me,  for  I  thinke  295 
this  be  the  first  time  of  our  meeting. 

Bawd.    What  would  you  have  Sir  ? 

Clowne.    Nothing  as  they  say,  but  a  congratulation  for  our 
first  acquaintance.  I  have  it  here  old  bully  bottom,  I 
have  it  here.  300 

Bawd.    I  have  it  here  too :  nay,  pray  sir  come  in,  I  am  loath 
to  kisse  at  doore,  for  feare  my  neighbours  should  see. 

Clowne.     Speake,  shall  you  and  I  condogge  together? 
I'le  pay  you  to  a  haire. 

Bawd.     Nay,  I  beesech  you  sir,  come  in:  a  Gentleman, 

and  305 

stand  at  doore  ?  I'le  lead  the  way,  and  you  shal  come  behind. 

285  C.  "through." 

284  Shakes  a  purse)  Inserted  by  D.  after  "what  remedy?",  by  C.  after 
"cannot  enter!" 

290  so  strong.)  All  eds.  read  "strange."  D.  notes :  "The  quarto  reads 
'strong.'  "  C. :  "The  old  copy  has  strong  for  "strange,"  which  is  clearly 
the  right  word."  P.  copies  C. 


The  Royall  King  and  the  Loyall  Subject.  93 

Clown.    No,  no ;  I  will  not  salute  you  after  the  Italian  fa- 
shion :  I'le  enter  before. 

Bawd.     Most  lovingly,  pray  draw  the  latch  sir.       Exit. 

Enter  the  two  Gentlemen  with,  the  two  wenches.       310 

1.  Gent.     Nay  faith  sweet  rogue  thou  shalt  trust  me  for 

once. 

1.  Whore.  Trust  you  ?  come  up,  canst  thou  pay  the  hackny 
for  the  hire  of  a  horse,  and  think'st  thou  to  breath  me  upon 

trust. 
1.  Gen.    Thou  bid'st  me  come  up,  and  shal  I  not  ride  ? 

1.  Whore.    Yes  the  gallows  as  soone.  315 

2.  Whore.    A  Gentleman,  and  have  no  money  ?   marry  you 
make  a  most  knightly  offer. 

2.  Gent.     How?  to  offer  thee  no  money? 
2.  Whore.     How  can  they  offer  that  have  none? 
2.  Gent.     I'le  either  give  thee  ware  or  money,  that's  as 
good.  320 

2.  Whore.     Ey  but  sir,  I'le  deale  with  no  such  chapmen. 

Enter  Bawd,  Captaine,  and  Clowne. 

Bawd.  What's  the  matter  here  ?  ha  f  can  you  not  agree  a- 
bout  the  bargaine? 

1.  Whore.     Here's  Gallants  would  have  us  breath'd,  and 

for-  325 

sooth  they  have  no  money. 

2.  Whore.  They  thinke  belike,  dyet,  lodging,  ruffes,  cloaths, 
and  holland-smocks  can  all  be  had  without  money,  and  a 
disease,  if  wee  should  catch  it,  Heaven  blesse  us,  can  be  cur'd 
without  money.  330 

*»ExitJ  D.,  C.  "Exeunt." 

810  D.  "with  Two  Wenches." 

322  D.  "Enter  Bawd."  He  reserves  the  entrance  of  "CAPTAIN  and  COCK" 
till  later.  C.  "Enter  Bawd  and  Clown."  Note:  "In  the  old  stage- 
direction,  the  'Captain'  is  also  mentioned,  but  he  does  not  come  in 
until  afterwards,  as  marked,  where  the  old  copy  repeats  his  entrance." 

823  D.  "Ha,  can  you  not"  etc.     C.  "Ha !  can"  etc. 


94  The  Royall  King  and  the  Loyall  Subject. 

Bawd.  That's  fine  yfaith:  if  my  beds  be  shaken  out  of 
their  joynts,  or  my  cords  broken,  must  not  the  loyner  and 
the  Rope-maker  both  have  money  ?  if  my  rugges  be  rub'd  out 
with  your  toes,  can  they  be  repair' d  without  money?  if  my 
linnen  be  foul'd,  can  I  pay  my  landresse  without  money? 
be-  335 

sides,  we  must  have  something  to  maintaine  our  broken  win- 
dows I  hope ;  the  Glazier  wil  not  mend  them  without  mony. 

1.  Gent.    Come,  come,  let's  run  a  score  for  once. 

Bawd.    You  shall  not  score  of  my  tally,  out  of  my  doores. 

Enter  Captaine.  340 

Cap.    Why  shall  we  not  be  bosom'd  have  we  paid,  and 
must  we  not  have  wenches  ? 

Bawd.    You  shal  have  the  choicest  of  my  house  gentlemen. 

1.  Gent.     Who,  those  Rascalls  ? 

Bawd.    They  be  Rascalls  that  have  no  money ;  those  be  345 
Gentlemen  that  have  Crownes;  these  are  they  that  pay  the 
loyner,   the  rope-maker,   the  Vpholster,   the  Laundrer,   the 
Glazier;  will  you  get  you  out  of  my  doores,  or  shall  wee 
scold  you  hence? 

Clown.    That  you  shall  never  by  thrusting  them  out  of  350 
doores. 

1.  Gent.     Who  but  a  mad  man  would  be  so  base  as  to  be 

hir'd, 
much  more  to  hire  one  of  those  bruitists,  that  make  no  dif- 

337  mony.     C.  "them  without  money?" 

3«  j)   "Enter  CAPTAIN  (and  COCK)"    C.  "Enter  Captain  BONVILLE." 

312  3  C.  prints  as  verse : 

Why,  shall  we  not  be  bosom'd?    Have  we  paid, 
And  must  we  not  have  wenches? 

348  D.  "Will  you  out  of  my  doors,  or  shall  we  scald  you  hence?" 
Note:  "The  quarto  reads  "scold  you  hence."  I  think  the  present 
reading  more  in  character;  and  the  reader  may  recollect  she  so  threatens 
the  Captain  when  she  first  sees  him." 

C.  "Will  you  get  out  of  my  doors,"  etc.    For  P.'s  comment,  see  Notes. 

852  C.  "Who  but  a  man"  etc. 

363  D.  "brutist." 


The  Royall  King  and  the  Loyall  Subject.  95 

ference  betwixt  a  Gentleman  and  a  beggar,  nay,  I  have  scene 
enough  to  be  soone  intreated.  355 

2.  Gent.    You  shall  not  need  to  f eare  me,  I  am  gone : 
Hee's  past  before,  nor  will  I  stay  behinde ; 
I  have  scene  enough  to  loathe  all  your  sisterhood. 

Bawd.    Marry  farewell  frost.     Now  Sir,  will  you  make 
your  choice,  and  your  man  after?  360 

Cap.     I'le  have  both,  these  are  mine. 

Clown.  Goe  you  then  with  your  paire  of  Whores,  I'le  goe 
with  this  old  skuller  that  first  ply'd  me. 

Bawd.  I  see  thou  lovest  to  goe  by  water;  come  shall  we 
dally  together  ?  sit  upon  my  knee  my  sweet  boy,  what  mo-  365 
ney  hast  thou  in  thy  purse?  wilt  thou  bestow  this  upon  me 
my  sweet  chicke? 

Clowne.  I'le  see  what  I  shall  have  first  for  my  money  by 
your  favour. 

1.  Whore.    And  shall  I  have  this  ?  370 

2.  Whore.    And  I  this  ? 

Cap.    Both  these  are  mine,  we  are  agreed  then  ? 
But  I  am  asham'd,  being  such  a  tatter'd  rogue,  to  lye  with 
two  such  fine  gentlewomen ;  besides,  to  tell  you  truely,  I  am 
louzie.  375 

1.  Whore.  No  matter,  thou  shalt  have  a  cleane  shirt,  and 
but  pay  for  the  washing,  and  thy  cloaths  shall  in  the  meane 
time  be  cast  into  an  Oven. 

Cap.  But  I  have  a  worse  fault,  my  skinne's  not  perfect: 
what  shall  I  say  I  am?  380 

1.  Whore.     Itchy?  Oh  thou  shalt  have  Brimstone  and 
Butter. 

155  D.,  C.  "soon  entreated.  (Exit." 
858  D.,  C.  "sisterhood.     (Exit." 
mmD.  and  C.  write  as  verse:     D. 

But  I'm  ashamed,  being  such  a  tatter'd  rogue, 

To  lie  with  two  such  fine  gentlewomen; 

Besides,  to  tell  you  truly,  I  am  lousy. 
C.:    But,  I  am  asham'd — the  rest  as  D. 

878  D.   "No  matter;   thou  shalt  have  a  clean  shirt,  but  pay  for  the 
washing." 


96  The  Royall  King  and  the  Loyall  Subject. 

Cap.     Worse  than  all  these,  my  body  is  diseased, 
I  shall  infect  yours. 

1.  Whore.    If  we  come  by  any  mischance,  thou  hast  money 

385 

to  pay  for  the  cure:  come,  shall's  withdraw  into  the  next 
chamber  ? 

Cap.  You  are  not  women,  you  are  devils  both, 
And  that  your  Damme;  my  body  save  in  warres, 
Is  yet  unskarr'd,  nor  shall  it  be  with  you.  390 

Say  the  last  leacher  that  imbrac't  you  here, 
And  folded  in  his  armes  your  rottennesse, 
Had  beene  all  these,  would  you  not  all  that  filth 
Vomite  on  me?  or  who  would  buy  diseases, 
And  make  his  body  for  a  Spittle  fit,  395 

That  may  walke  sound  ?  I  came  to  schoole  you  Whoore, 
Not  to  corrupt  you;  for  what  need  I  that 
When  you  are  all  corruption;  be  he  lame, 
Have  he  no  Nose,  be  all  his  body  stung 
With  the  French  Fly,  with  the  Sarpego  try'd:  400 

Be  he  a  Lazar,  or  a  Leper,  bring 
Coyne  in  his  first,  he  shall  embrace  your  lust 
Before  the  purest  flesh  that  sues  of  trust. 

Bawd.     What  Diogenes  have  we  here?     I  warrant  the 

Cin- 

nicke  himselfe   sayd  not  so  much  when   he  was   scene   to 
come  405 

out  of  a  Bawdy  house. 

Cap.    He  sham'd  not  to  come  out,  but  held  it  sinne 
Not  to  be  pardon'd,  to  be  scene  goe  in. 
But  I'le  be  modest:  nay,  nay,  keepe  your  Gold 

»«D.  "spital" 

400  C.  "serpigo." 

408  D.  inserts  after  "modest,"  "(The  whores  offer  him  back  the  money.)" 
C.  gives  "But  I'll  be  modest."  to  1  Whore.  Note:  "In  the  old  copy, 
this  declaration  is  made  part  of  the  speech  of  the  Captain,  but  it 
clearly  belongs  to  the  woman,  who,  at  the  same  time,  offers  him  back 
the  money." 


The  Hoy  all  King  and  the  Loyall  Subject.  97 

To  cure  those  hot  diseases  you  have  got,  410 

And  being  once  cleere,  betake  you  to  one  man, 
And  study  to  be  honest,  that's  my  counsell: 
You  have  brought  many  like  yon  Gentlemen 
That  jet  in  Silkes,  to  goe  thus  ragg'd  like  us, 
Which    did    they    owne    our  thoughts,   these   rags   would 
change  41 5 

To  shine  as  we  shall,  though  you  think  it  strange. 
Come,  come,  this  house  is  infected,  shall  we  goe  ? 

Clowne.  Why  Sir,  shall  I  have  no  sport  for  my  money,  but 
even  a  snatch  and  away? 

Cap.    Leave  me,  and  leave  me  ever,  and  observe  420 

This  rule  from  me,  where  there  is  lodg'd  a  Whore, 
Thinke  the  Plagues  crosse  is  set  upon  that  doore. 

Clowne.  Then  Lord  have  mercy  upon  us :  where  have  we 
beene? 

The  Clowne  goes  learing  away,  and  shaking  his  head.     425 

Bawd.     Hist,  hist;  here's  a  rayling  companion  in- 
deed. 

1.  Whore.  I  know  not  what  you  call  a  rayling  companion : 
but  such  another  discourse  would  make  me  goe  neere  to  turn 
honest.  430 

Bawd.  Nay,  if  you  be  in  that  minde,  I'le  send  for  your 
love :  the  plague  in  my  house  ?  the  Pox  is  as  soone :  I  am  sure 
there  was  never  man  yet  that  had  Lord  have  mercy  upon 
us  in  his  minde,  that  would  ever  enter  here:  Nay  will  you 
goe?  435 

Sound,  enter  the  King,  Prince,  Princesse,  all  the  Lords, 
the  Queene,  &c. 

417  D.  "(To  Cock)  Come,  come."  etc. 

422  D.,  C.  "Exit." 

423  D.  italicizes  "Lord  have  mercy  upon  us." 

425  D.  "He  goes  out  leering  and  shaking  his  head." 
435  D.,  C.  "Exeunt." 

*••  D.  "Flourish.  Enter  the  KING,  QUEEN,  PRINCE,  PRINCESS,  LOBDS, 
Ac." 

7 


98  The  Royall  King  and  the  Loyall  Subject. 

King.     Before  you  all  I  here  acknowledge  Lords, 
I  never  held  me  happy  but  in  this 

My  vertuous  choice,  in  having  your  applause,  440 

Me-thinks  I  had  the  sweet  consent  of  Heaven. 

Princesse.     This  noble  Lady,  now  my  royall  Mother, 
Hath  by  her  love  to  you,  regard  to  us, 
And  courteous  affability  to  all, 
Attain'd  the  generall  suffrage  of  the  Realme.  445 

Princesse.     Her  modest  carriage  shall  be  rules  to  me, 
Her  words  instructions,  her  behaviour  precepts, 
Which  I  shall  ever  study  to  observe. 

Queen.       I  feele  my  body  growing  by  the  King, 
And  I  am  quicke  although  he  know  it  not ;  450 

Now  comes  my  fathers  last  injunction 
To  my  remembrance,  which  I  must  fulfill, 
Although  a  Queene,  I  am  his  daughter  still. 

King.   Lords,  and  the  rest  forbeare  us  till  we  call, 
A  chaire  first,  and  another  for  our  Queene,  455 

Some  private  conference  we  intend  with  her: 
Now  leave  us.  Exeunt  Lords. 

King.   My  fairest  Isabella,,  the  choice  Jewell 
That  I  weare  next  my  heart;  I  cannot  hide 
My  love  to  thee,  'tis  like  the  Sunne  invelopt  460 

In  watery  clouds,  whose  glory  will  breake  thorow, 
And  spite  opposure,  scornes  to  be  conceal'd; 
Saving  one  thing,  aske  what  my  kingdome  yeelds, 
And  it  is  freely  thine. 

Queen.    What's  that  my  Lord  ?  465 

King.    I  cannot  speake  it  without  some  distaste 

442  D.  "Prince.  This  noble"  etc.  So  C.,  with  note :  "This  speech  is 
erroneously  assigned  to  the  Princess  in  the  old  copy.  She  speaks  next." 
Copied  in  Pearson. 

449  D.  "Queen.     (Aside).     So  C. 

454  D.  "intend  far  her.     (They  place  the  Chairs." 

*"T).  "Exeunt  all  but  KING  and  QUEEN."  C.  "Exeunt  Prince,  Princess, 
Lords,  dc." 

481  C.  "through." 


The  Roy  all  King  and  the  Loyall  Subject.  99 

To  thee  my  Queene,  yet  if  thy  heart  be  ours 
Name  it  not  to  me. 

Queen.    I  am  onely  yours. 

King.     Begge  not  thy  fathers  free  repeale  to  Court,     470 
And  to  those  offices  we  have  bestow' d, 
Save  this,  my  Kingdome,  and  what  it  containes, 
Is  thy  wills  subject. 

Queen.     You  are  my  King,  and  Husband; 
The  first  includes  allegeance,  the  next  duty,  475 

Both  these  have  power  above  a  Fathers  name, 
Though  as  a  daughter  I  could  wish  it  done, 
Yet  since  it  stands  against  your  Royall  pleasure, 
I  have  no  suite  that  way. 

King.     Thou  now  hast  thrust  thy  hand  into  my  bosome, 

480 

And  we  are  one:  Thy  beauty,  oh  thy  beauty! 
Never  was  King  blest  with  so  faire  a  wife. 
I  doe  not  blame  thy  Father  to  preferre 
Thee  'fore  thy  sister  both  in  love  and  face, 
Since  Europe  yeelds  not  one  of  equall  grace :  485 

Why  smiles  my  love  ? 

Queene.     As  knowing  one  so  faire, 
With  whom  my  pale  cheeke  never  durst  compare: 
Had  you  but  scene  my  Sister,  you  would  say, 
To  her  the  blushing  Corrall  should  give  way:  490 

For  her  cheeke  staines  it;  Lillies  to  her  brow 
Must  yeeld  their  Ivory  whitenesse,  and  allow 
Themselves  o'recome.     If  e're  you  saw  the  skie 
When  it  was  clearest,  it  never  could  come  nigh 
Her  Azure  veines  in  colour ;  slice's  much  clearer,  495 

Ey,  and  her  love  much  to  my  Father  dearer. 

King.  We  by  our  noble  Martiall  made  request 
For  the  most  faire,  and  her  whom  he  best  lov'd: 
Durst  he  delude  us? 

Queen.    What  I  speake  is  true,  500 

So  will  your  selfe  say  when  shee  comes  in  place. 

™  clearest.     C.  "clear'st." 


100          The  Eoyall  King  and  the  Loyall  Subject. 

King.    Our  love  to  thee  shall  not  or'ecome  that  hate 
We  owe  thy  Father,  though  thou  bee'st  our  Queene. 

Queen.     He  keeps  her  as  his  Treasure,  locks  her  safe 
Within  his  arms:  he  onely  minded  me  505 

As  one  he  lov'd  not,  but  thought  meerely  lost. 

King.     Thou  art  lost  indeed,  for  thou  hast  lost  my  heart, 
Nor  shalt  thou  keepe  it  longer:  all  my  love 
Is  swallowed  in  the  spleene  I  beare  thy  Father, 
And  in  this  deepe  disgrace  put  on  his  King,  510 

Which  wee'le  revenge. 

Enter  Prince,  Princesse,  Chester,  Clinton,  Bonvile, 
and  Audley. 

King.     It  shall  be  thus: 

Chester  beare  hence  this  Lady  to  her  Father  515 

As  one  unworthy  us,  with  her  that  dower 
The  double  dower  he  by  his  servant  sent: 
Thy  teares  nor  knee  shall  once  prevaile  with  us. 
As  thou  art  loyall,  without  further  language 
Depart  our  presence,  wee'le  not  heare  thee  speake.  520 

Chest.     What  shall  I  further  say? 

King.     Command  him  on  his  life  to  send  to  Court 
His  tother  Daughter,  and  at  our  first  summons, 
Lest  we  proclaime  him  Traytor :  this  see  done 
On  thy  Allegeance.  525 

Chest.     Now  the  goale  is  ours. 

King.  None  dare  to  censure  or  examine  this, 
That  we  shall  hold  our  friend,  or  of  our  blood: 
Subjects  that  dare  against  their  Kings  contend, 
Hurle  themselves  downe  whilst  others  hie  ascend.  Exit.  530 

507  C.  "Thou'rt  lost,  indeed;" 

514  King)    Unnecessary,   repeated   on   account   of  the   interposition   of 
the  stage  direction. 

sis  D   «(To  the  Queen)  Thy  tears,"  etc. 

m  C.  "farther." 
m  C.  "other." 

.  "Chest.  (Aside)."    C.  "ours.  (Aside,  and  exit)." 
D.  "King." 


The  Roy  all  King  and  the  Loyall  Subject.          101 

Actus  quartus.  1 

Enter  the  Martiall  and  his  daughter  Katherine. 

Mar.    I  see  the  King  is  truely  honourable : 
All  my  disgraces  and  disparagements 

He  hath  made  good  to  me  in  this,  to  queene  my  child,         5 
And  which  more  glads  me,  with  such  ardency 
He  seemes  to  affect  her,  and  to  hold  her  deare, 
That  nothing's  valued,  if  compar'd  with  her. 
Now  Heaven  whilst  thou  this  second  happinesse 
And  blisse  wilt  lend  me,  I  shall  still  grow  great  10 

In  my  content,  opinion,  and  my  fate, 
In  spight  of  whisperers,  and  Court-flatterers. 

Kath.    Had  you  best  lov'd  my  Sister,  and  lesse  me, 
I  had  beene  Queene  before  her;  but  she  venter'd 
For  her  preferment,  therefore  'tis  her  due;  15 

Out  of  our  fears  and  loves  her  honours  grew. 

Mar.    Whilst  I  may  keepe  thy  beauty  in  mine  eye, 
And  with  her  rais'd  fortunes  fill  mine  eare, 
I  second  me  in  blisse;  shee's  my  Court  comfort, 
Thou  my  home  happinesse:  in  these  two  blest,  20 

Heaven  hath  inrich't  me  with  a  crowne  of  rest. 

Kath.     Nor  doe  I  covet  greater  Royalties 
Than  to  enjoy  your  presence,  and  your  love, 
The  best  of  these  I  prize  above  all  fortunes, 
Nor  would  I  change  them  for  my  Sisters  state.  25 

1 D.  "Act  IV,  Scene  I. 

"The  MARSHAL'S  House  in  the  Country.  Enter  the  MARSHAL  and  his 
Daughter  CATHARINE." 

18  C.,  P.  "new  rais'd  fortunes."  A  simpler  emendation  would  be, 
"raised,"  which  perfects  the  metre. 

lg  All  eds.  read,  "I  second  none,"  doubtless  correctly. 

14  C.  note :  "The  lust  of  these.)  Perhaps  we  ought  to  read  'The  last 
of  these,"  viz.,  her  father's  love:  the  misprint  was  easy."  As  easy  as 
C's  misprint  of  "lust"  for  "best!"  P.  copies  the  note.  Perhaps  we 
have  here,  and  in  19,  two  more  differences  in  the  readings  of  different 
Quartos:  see  notes  III,  242. 


102  The  Roy  all  King  and  the  Loyall  Subject. 

Mar.     Her  beauty  and  her  vertues  mixt  have  won 
The  King  my  Soveraigne  to  be  tearm'd  my  son. 

Enter  Servant. 

Ser.     Earle   Chester,  with  the    Queene    your    princely 

daughter 

Are  without  traine  alighted  at  the  gate,  30 

And  by  this  entred. 

Mar.     Thou  hast  troubled  me, 
And  with  a  thousand  thoughts  at  once  perplex't 
My  affrighted  heart :  admit  them ;  soft,  not  yet ; 
What  might  this  meane  ?  my  daughter  in  the  charge  35 

Of  him  that  is  my  greatest  opposite, 
And  without  traine,  such  as  becomes  a  Queene? 
More  tempest  towards  Kate?  from  which  sweete  child, 
If  I  may  keept  thee,  may  it  on  iny  head 
Powre  all  his  wrath,  even  till  it  strike  me  dead.  40 

Kath.     Rather,  my  Lord,  your  Royall  life  to  free, 
All  his  sterne  fury  let  him  showre  on  me. 

Ser.     My  Lord,  shall  I  admit  them? 

Mar.    Prithee  stay, 

Fate  threatens  us,  I  would  devise  a  meanes  45 

To  shunne  it  if  we  might :  thou  shalt  withdraw,  To  his 

And  not  be  seene ;  something  we  must  devise  Daughter. 

To  guard  our  selves,  and  stand  our  opposites: 
Goe  keepe  your  chamber,  now  let  Chester  in. 

Serv.    I  shall  my  Lord.  50 

Mar.     My  Loyalty  for  me,  that  keepe  me  still; 
A  Tower  of  safety,  and  a  shield  'gainst  Fate. 

Enter  the  servant  ushering  Chester  and  the  Queene. 
Chest.    The  King  thy  daughter  hath  in  scorne  sent  backe. 

*  D.  "Kate!"    C.  "Kate;"  Why  not  a  question? 

"P.  rightly  emends  "keepe."    C.  D.  "keep." 

48  "Chamber  (exit  Cath.J"  C.  "in.     (Exit  KATHERINE." 

"C.  "Lord.     (Exit." 

m  D.  "Enter  Servant,  ushering  in  the  QUEEN  and  CHESTER." 

MD.  "back " 


The  Roy  all  King  and  the  Loyall  Subject.  103 

Mar.     Pause  there,  and  as  y'are  noble  answer  me         55 
E're  you  proceed,  but  to  one  question. 

Chest.    Propound  it. 

Mar.  Whence  might  this  distaste  arise? 
From  any  loose  demeanor,  wanton  carriage, 
Spouse-breach,  or  disobedience  in  my  daughter?  60 

If  so,  I'le  not  receive  her,  shee's  not  mine. 

Queen.     That  let  mine  enemy  speake,  for  in  this  kind 
I  would  be  tax't  by  such. 

Chest.    Vpon  my  soule. 
There  is  no  guilt  in  her.  65 

Mar.     Bee't  but  his  humour, 

Th'art  welcome,  both  my  daughter  and  my  Queene ; 
In  this  my  Palace  thou  shalt  reigne  alone, 
I'le  keepe  thy  state,  and  make  these  armes  thy  Throne : 
Whil'st  thou  art  chast,  thy  stile  with  thee  shall  stay,          70 
And  reigne,  though  none  but  I  and  mine  obey. 
What  can  you  further  speake  ? 

Chest.     Her  double  Dower 
The  King  returnes  thee. 

Mar.    We  accept  it,  see,  75 

It  shall  maintaine  her  port  even  with  her  name, 
Being  my  Kings  wife,  so  will  I  love  his  Grace, 
Shee  shall  not  want,  will  double  this  maintaine  her. 

Chest.    Being  thus  discharg'd  of  her,  I  from  the  King 
Command  thee  send  thy  fairer  Girle  to  Court,  80 

Shee  that's  at  home,  with  her  to  act  his  pleasure. 

Mar.     Sir,  you  were  sent  to  challenge,  not  to  kill; 
These  are  not  threats,  but  blowes,  they  wound,  they  wound. 

Chest.     If  Treasons  imputation  thou  wilt  shun, 
And  not  incurre  the  forfeit  of  thy  life,  85 

Let  the  Kings  will  take  place. 

Mar.     You  have  my  offices, 

85  D.  "You're." 

82  D.  "Then  let"  etc. 

"D.  "Thou'rt." 

n  D.  "(To  Chest.)  What"  etc. 


104  The  Roy  all  King  and  the  Loyall  Subject. 

Would  you  had  now  my  grief e;  but  that  alone 
I  must  endure:  would  thou  hadst  both,  or  none. 
Sentence  of  death  when  it  is  mildly  spoke,  90 

Halfe  promises  life;  but  when  your  doome  you  mixe 
With  such  rough  threats,  what  is't  but  twice  to  kill? 
You  tyrannize  Earle  Chester. 

Chest.    Will  you  send  her  ? 

Mar.  That  you  shall  know  anon.  Tell  me  my  Queene,  95 
How  grew  this  quarrell  'tweene  the  King  and  thee? 

Queen.    By  you  was  never  Lady  more  belov'd, 
Or  wife  more  constant  than  I  was  to  him: 
Have  you  forgot  your  charge,  when  I  perceiv'd 
My  selfe  so  growne,  I  could  no  longer  hide  100 

My  greatnesse,  I  began  to  speake  the  beauties 
Of  my  faire  Sister,  and  how  much  she  excell'd, 
And  that  you  sent  me  thither  as  a  jest, 
That  shee  was  fairest,  and  you  lov'd  her  best? 

Mar.     Enough;   th'art  sure  with  child  and    neare    thy 
time.  105 

Queen.    Nothing  more  sure. 

Mar.  Then  that  from  hence  shall  grow 
A  salve  for  all  our  late  indignities: 
Pray  doe  my  humble  duty  to  the  King, 

And  thus  excuse  me,  that  my  daughter's  sicke,  110 

Crazed,  and  weake,  and  that  her  native  beauty 
Is  much  decay'd;  and  should  she  travell  now, 
Before  recovered,  'twould  ingage  her  life 

*C.  "That  you  shall  know  anon. — "  D.  inserts,  "(aside  to  his 
daughter)  Tell"  etc. 

97  D.  punctuates:  "By  you:  was"  etc.  This  makes  the  answer  to  the 
Marshal's  question  a  more  direct  one.  C.  "charge?"  omits  ?  after 
"best." 

106  A  question,  as  D.  and  C.  read. 

108  C.  "Nothing  more  sure  than  that."  Note :  "In  the  old  copy,  the 
words  "than  that"  are  made  to  begin  the  next  speech  of  the  Marshal." 
Copied  in  P. 

10T  D.  "Then,"  elsewhere  always  altered  to  "than." 

10.  D   «(To  chest.)  Pray"  etc. 


The  Eoyall  King  and  the  Loyall  Subject.  105 

To  too  much  danger;  when  she  hath  ability 

And  strength  to  journey,  I  will  send  her  safe  115 

Vnto  my  King ;  this  as  I  am  a  subject, 

And  loyall  to  his  Highnesse. 

Chest.     Your  excuse 
Hath  ground  from  love  and  reason: 
This  your  answer  I  shall  returne  to  the  King.  120 

Mar.    With  all  my  thanks : 
That  since  my  daughter  doth  distaste  his  bed, 
He  hath  sent  her  backe,  and  home  to  me  her  father, 
His  pleasure  I  withstand  not,  but  necessity, 
My  zeale  with  these  doe  not  forget  I  pray.  125 

Chest.    I  shall  your  words  have  perfect,  and  repeate  them 
Vnto  the  King. 

Mar.    I  should  disgrace  her  beauty 
To  send  it  maim'd  and  wayning;  but  when  she 
Attaines  her  perfectnesse,  then  shall  appeare  130 

The  brightest  Starre  fix't  in  your  Courtly  Spheare. 

Chest.     The  King  shall  know  as  much. 

Mar.    It  is  my  purpose, 
All  my  attempts  to  this  one  head  to  draw, 
Once  more  in  courtesies  to  o'recome  the  King.  135 

Come  beauteous  Queene,  and  thy  fair  Sister  cheere, 
Whom  this  sad  newes  will  both  amaze  and  feare.       Exeunt. 

Enter  Bonvile  in  all  his  bravery,  and  his  man  in  a  new  livery. 

™* m  C.  corrects  the  arrangement  of  the  lines,  and  is  followed  by  P. 
Chest.   Your  excuse 

Hath  ground,  from  love  and  reason.    This  your  answer 

I  shall  return  to  the  King. 

MI  m  C    «With  all  my  thanks 

That,  since"  etc.     Certainly,  the  colon  after  "thanks"  is  too  strong. 
"* m   C.  and  P.  have  quite  a  different  reading  from  our  Quarto  and  D. 

"His  pleasure  I  withstand  not,  but  return 

My  zeal;  and  these  do  not  forget,  I  pray. 
m  D.,  C.  "as  much.  (Exit ." 

"*  D.  "Enter  CAPTAIN  very  richly  dressed,  attended  by  COCK  in  a  new 
livery."    C.  "Captain  Bonville"  etc. 


106  The  Royall  King  and  the  Loyall  Subject. 

Cap.  Sirrah,  are  all  my  lands  out  of  mortgage,  and  my 
deeds  redeem'd  ?  140 

Clowne.   I  cannot  tell  that  Sir ;  but  wee  have  had  whole 
chest-fulls  of  writings  brought  home  to  our  house. 

Cap.    Why  then  'tis  done,  I  am  possest  againe 
Of  all  my  Fathers  ancient  revenues. 

Clowne.  But  how  came  you  by  all  this  money  to  buy  145 
these  new  suits  ?  methinks  we  are  not  the  men  we  were. 

Cap.     Questionlesse  that;  for  now  those  that  before  de- 
spis'd  us,  and  our  company,  at  meeting  give  us  the  bonjour. 
Oh  Heaven,  thou  ever  art  Vertues  sole  Patron, 
And  wilt  not  let  it  sinke:  all  my  knowne  fortunes       150 
I  had  ingag'd  at  home,  are  spent  abroad: 
But  in  the  warres,  when  I  was  held  quite  bankrupt 
Of  all  good  happ,  it  was  my  chance  to  quarter 
In  such  a  house  when  we  had  sack't  a  Towne, 
That  yeelded  me  inestimable  store  155 

Of  gold  and  Jewells,  those  I  kept  till  now 
Vnkowne  to  any,  pleading  poverty, 
Onely  to  try  the  humour  of  my  friends ; 
Which  I  have  proov'd,  and  now  know  how  to  finde 
Fixt  upon  wealth,  to  want  unnatural.  160 

Enter  Match  and  Touch-boxe. 

Clown.  See  Sir,  yonder  are  my  old  fellows,  Match  and 
Touch-boxe;  I  doe  not  thinke  but  they  come  to  offer  their 
service  to  you. 

Touch.  Save  thee  noble  Captaine,  hearing  of  thy  good    165 

mD.  "whole  chests  full."     C.  "whole  chestfuls." 

148  D.  "bon  jour."     C.  "bon-jour." 

181  All  eds.  read  "or  spent"  etc. 

i«o  Q  «rp0  wan|.  unnatural — "  Note :  "The  sense  is  perhaps  incomplete 
in  consequence  of  the  sudden  entrance  of  Match  and  Touch-box."  C. 
must  have  misunderstood  the  sense,  which  is  simply  "fixed  upon  wealth, 
and  therefore  unnatural  to  want,  t.  e.,  to  those  in  want."  P.  copies 
the  note. 

m  D   "Enter  CORPORAL  and  MATCH." 


The  Roy  all  King  and  the  Loyall  Subject.  107 

fortunes,  and  advancement,  I  am  come  to  offer  my  self e  to  be 
partaker  of  the  same,  and  to  follow  thee  in  the  same  colours 
that  thou  hast  suited  the  rest  of  thy  servants. 

Clown.     God-a-mercy  horse,  you  shall  not  stand  to  my 
livery. 

Match.    You  see  our  old  clothes  sticke  by  us  still,  good 

170 
Captaine  see  us  new  moulded. 

Cap.     You  are  flies,  away;  they  that  my  Winter  fled 
Shall  not  my  Summer  taste:  they  onely  merit 
A  happy  harbour,  that  through  stormy  Seas 
Hazard  their  Barkes,  not  they  that  sayle  with  ease.         175 
You  taste  none  of  my  fortunes. 

Clowne.    Corporall,  you  see  this  Livery  ?  if  you  had  stay'd 
by  it,  we  had  beene  both  cut  out  of  a  peece;  Match,  if  you 
had  not  left  us  you  had  beene  one  of  this  guard :  Goe,  away, 
betake  you  to  the  end  of  the  Towne ;  let  me  finde  you  be-     180 
tweene  Woods  close-stile  and  Islington,,  with  will  it  please 
your  Worship  to  bestow  the  price  of  two  Cannes  upon    a 
poore  souldier,  that  hath  serv'd  in  the  face  of  the  Souldan, 
and  so  forth,  Apage,  aivay  I  scorne  to  be  fellow  to  any 
that  wil  leave  their  Masters  in  adversity:  if  he  entertaine 
you,  185 

he  shall  turne  away  me,  that's  certaine. 

Match.  Then  good  your  Worship  bestow  something  up- 
on a  poore  souldier,  I  protest — 

Clown.  Loe,  I  have  taught  him  his  lesson  already ;  I  knew 
where  I  should  have  you?  190 

no  m  £  punctuates :  "You  see,  our  old  clothes  stick  by  us  still,  good 
Captain:  see  us  new  moulded."  The  arrangement  of  the  Quarto,  which 
makes  "good  Captain,"  hortatory,  is  preferable. 

179  C.  "Go  away ; "  "away"  is  an  exclamation,  as  elsewhere. 

184  D.  "and  so  forth  a  page — away ! "  (!)  D.  neglected  to  notice  the 
italics  that  show  the  foreign  word:  one  of  the  Clown's  tags  of  Latin 
or  Greek  ? 

180  Hardly   a   question :    probably  this   is   one   of  the  cases,   of  which 
there  are  several,  where  ?  is  used  for  !. 


108  The  Roy  all  King  and  the  Loyall  Subject. 

Cap.  There's  first  to  make  you  beggers;  for  to  that  all 
such  must  come  that  leave  their  Masters  poore.  Begon,  and 
never  let  me  see  you  more. 

Touch.  God  be  with  you  good  Captaine:  Come  Match, 
let  us  betake  us  to  our  randevous  at  some  out  end  of  the  195 
Citty. 

Cap.     Hee  makes  a  begger  first  that  first  relieves  him; 
Not  Vsurers  make  more  beggers  where  they  live, 
Than  charitable  men  that  use  to  give. 

Clown.     Here  comes  a  Lord.  Enter  Clinton.     200 

Clin.     I  am  glad  to  see  you  Sir. 

Cap.  You  know  me  now  ?  your  Worship's  wondrous  wise  ; 
You  could  not  know  me  in  my  last  disguise. 

Clin.     Lord  God  you  were  so  chang'd. 

Cap.     So  am  I  now  205 

From  what  I  was  of  late  :  you  can  allow 
This  habite  well,  but  put  my  tother  on, 
Xo  congie  then,  your  Lordship  must  be  gon. 
You  are  my  Summer-friend.  Enter  Bonvile. 

Bonv.    Cousin,  well  met.  210 

Cap.     You  should  have  said  well  found, 
For  I  was  lost  but  late,  dead,  under  ground 
Our  Kinred  was:  when  I  redeem'  d  my  Land, 
They  both  reviv'd,  and  both  before  you  stand. 

Bon.     Well,  well,  I  know  you  now.  215 

Cap.    And  why  not  then? 
I  am  the  same  without  all  difference  ;  when 

m  D.  "beggars  (gives  them  money)" 
m  in 


ag  Verse  : 

There's  first  to  make  you  beggars;  for  to  that 
All  such  must  come  that  leave  their  masters  poor. 
Begone,  and  never  let  me  see  you  more. 

"•  D.  "city.  (Exeunt  Corp.  and  Match."    C.  ["Exeunt." 

1WD.  "give.    Enter  CLINTON.     Cock.    Here  cornea"  etc. 

*°°  C.  "Enter  Lord  CLINTON." 

"•C.  "now!" 

""D.,  C.  "my  other." 

*"C.  "Lord  BONVILLE." 


The  Royall  King  and  the  Loyall  Subject.  109 

You  saw  me  last,  I  was  as  rich,  as  good, 

Have  no  additions  since  of  name,  or  blood; 

Onely  because  I  wore  a  thread-bare  suite,  220 

I  was  not  worthy  of  a  poore  salute. 

A  few  good  cloaths  put  on  with  small  adoo, 

Purchase  your  knowledge,  and  your  kinred  too. 

You  are  my  silken  Unkle:  oh  my  Lord, 

Enter  Audley  and  his  Daughter.  225 

You  are  not  in  haste  now  ? 

And.     I  have  time  to  stay, 
To  aske  you  how  you  doe,  being  glad  to  heare 
Of  your  good  fortune,  your  repurchast  lands, 
And  state  much  amplified.  230 

Cap.    All  this  is  true ; 
Ey  but  my  Lord,  let  me  examine  you: 
Remember  you  a  Contract  that  once  past 
Betwixt  me  and  your  daughter?  here  she  stands. 

Aud.    Sir,  since  you  did  vnmorgage  all  your  meanes.     235 
It  came  into  my  thoughts ;  trust  me,  before 
I  could  not  call't  to  minde. 

Cap.     Oh  mens  weake  strength, 

That  aime  at  worlds,  when  they  but  their  meere  length 
Must  at  their  end  enjoy:  Thou  then  art  mine,  240 

Of  all  that  I  have  proov'd  in  poverty, 
The  onely  test  of  vertue :  what  are  these  ? 
Though  they  be  Lords,  but  worldlings,  men  all  earth. 
Thou  art  above  them;  vertuous,   that's  divine; 
Onely  thy  heart  is  noble,  therefore  mine.  245 

Mary.     And  to  be  yours,  is  to  be  what  I  wish ; 

at  oh  my  Lord,)    C.  transfers  to  226,  reading: 
"Oh,  my  lord!  you  are  not  in  haste  now?" 

This    destroys   the   metrical   arrangement    of   the   lines.     D.    inserts 
"Enter"  etc.,  after  "uncle"  without  disarranging  the  lines. 
125  C.  "Enter  Lord  AUDLEY  and  his  Daughter,  Lady  MART." 
224  D.  omits  f  after  "now." 
140  D.  "enjoy.     (To  Lady  Mary)  Thou"  etc. 


110  The  Roy  all  King  and  the  Loyall  Subject. 

You  were  to  me  as  welcome  in  your  ragges, 

As  in  these  Silkes.     I  never  did  examine 

The  out-side  of  a  man,  but  I  begin 

To  censure  first  of  that  which  growes  within.  250 

Cap.     Onely  for  that  I  love  thee:  These  are  Lords 
That  have  bought  Titles.    Men  may  merchandize 
Wares,  ey,  and  trafficke  all  commodities 
From  Sea  to  Sea,  ey  and  from  shore  to  shore, 
But  in  my  thoughts,  of  all  things  that  are  sold,  255 

'Tis  pitty  Honour  should  be  bought  for  gold. 
It  cuts  off  all  desert.  Enter  the  Host. 

Clowne.    Master,  who's  here  ?  mine  Host  of  the  Ordinary  ? 

Cap.     Your  businesse  sir?  what  by  petition? 

Host.     Falne  to  a  little  decay  by  trusting,  and  knowing 
your  Worship  ever  a  bountifull  young  Gentleman,  I  make 
bold  to  make  my  wants  first  knowne  to  you. 

Cap.     Pray  what's  your  suite? 

Host.    Onely  for  a  cast  suite,  or  some  small  remuneration. 

Cap.     And  thou  shalt  have  the  suite  I  last  put  off:     265 
Fetch  it  me  Cock,  Cock.     I  shall  Sir. 

Cap.     Falne  to  decay?     I'le  fit  you  in  your  kind. 

Cock.     I  have  a  suite  to  you  Sir,  and  this  it  is. 

Cap.     In  this  suit  came  I  to  thine  Ordinary, 
In  this  thou  would' st  have  thrust  me  out  of  doores,  270 

Therefore  with  this  that  then  proclaim'd  me  poore, 
I'le  salve  thy  wants,  nor  will  I  give  thee  more. 
Base  worldlings,  that  despise  all  such  as  need; 
Who  to  the  needy  begger  are  still  dumbe, 
Not  knowing  unto  what  themselves  may  come.  275 

Host.  I  have  a  cold  suite  on't  if  I  be  forc't  to  weare  it  in 
winter.  I  bid  your  worship  farewell. 

258  Ordinary  f)    C.  "ordinary!" 

259  D.  "Sir?  (Host  offers  a  petition)" 

*"  D.  "Cock.  I  shall,  sir.  (Goes  out  and  returns  immediately  with 
an  old  suit  of  clothes."  C.  "(Exit. 

*"  C.  "kind.  Re-enter  COCK."  The  exit  and  re-entrance  of  Cock  are 
necessarily,  marked,  but  are  only  understood  in  the  old  copy." 

mC.  "farewell.     (Exit." 


The  Roy  all  King  and  the  Loyall  Subject.  Ill 

Clowne.     So  should  all  that  keepe  Ordinaries,  bid  their 

guests 

farewell,  though  their  entertainment  be  never  so  ill.    Well 
sir,  I  take  you  but  for  an  ordinary  fellow,  and  so  I  leave 
you.  280 

Master,  who  will  not  say  that  you  are  a  brave  fellow,  and  a 
most  noble  Captaine,  that  with  a  word  or  two  can  discom- 
fit an  Host. 

Cap.     I  know  you,  therefore  know  to  rate  your  worths 
Both  to  their  height  and  depth,  their  true  dimensions          285 
I  understand;  for  I  have  try'd  them  all: 
But  thou  art  of  another  element, 
A  mirrour  of  thy  sexe,  that  canst  distinguish 
Vertue  from  wealth,thee  as  my  owne  I  elect, 
And  these  according  to  themselves  despise.  290 

A  Courtier  henceforth  I  my  selfe  professe, 
And  thee  my  wife,  thou  haste  deserv'd  no  lesse. 

Enter  the  King,  the  Prince,  and  the  Princesse, 
and  Chester. 

King.    No  newes  yet  from  our  Marti  all  ?  we  three  moneths 

295 

Have  stay'd  his  leasure,  but  receive  not  yet 
That  daughter  we  sent  for. 

Prince     Shee  peradventure 

Hath  not  her  strength  recovered,  or  her  beauty 
Lost  by  her  sickenesse,  to  the  full  regained.  300 

Chest.    Upon  my  life  my  Lord,  when  she  is  perfect, 
And  hath  receiv'd  her  full  ability, 
Shee  shall  attend  your  pleasure. 

Princesse.     But  your  Queene, 

^'D.  "leave  you.  (Exit  Host)" 

287  D.  "(To  L.  Mary)  But  thou"  etc. 

292  D.,  C.  "no  less.    (Exeunt. 

""D.  "Enter  the  KING,  PBINCE,  PRINCESS  and  CHESTER. 

804  D.  "But  our  queen." 


112  The  Roy  all  King  and  the  Loyall  Subject. 

That  vertuous  Lady,  when  I  thinke  on  her,  305 

I  can  but  grieve  at  her  dejectednesse. 

King.    Heaven  knowes  I  love  her  above  all  the  world, 
And  but  her  Father,  this  contends  with  us 
When  we  in  all  our  actions  strive  to  exceed : 
We  could  not  brooke  her  absence  halfe  so  long.  310 

But  we  will  try  his  patience  to  the  full. 

Enter  Bonvile,  Audley,  Captaine,  Clinton,  Mary, 
the  Clowne. 

Cap.    My  prostrate  duty  to  the  King  my  Master 
I  here  present.  315 

Prince.     This  is  the  Gentleman 
Commended  for  his  valour  in  your  warres, 
Whose  ruin'd  fortunes  I  made  suite  to  raise: 
I  would  intreat  your  Highnesse  to  respect  him. 

King.     All  his  proceedings  we  partake  at  large,  320 

Know  both  his  fall  and  height;  we  shall  regard  him 
Even  with  his  worth:  be  neare  us,  of  our  chamber. 
Sir,  we  shall  use  your  wisedome,  and  preferre  it 
According  to  your  worth.     Be  this  your  hope 
We  know  you.  325 

Cap.    Onely  in  that  I  am  happy. 

Enter  the  Servant. 

Serv.    Health  to  your  Majesty.  King.  Whence  ? 

Serv.    From  my  Master, 

The  poorest  subject  that  your  land  containes,  330 

Rich  onely  in  his  truth  and  loyalty. 

308  C.  "And  but  her  father  thus  contends"  etc.     Certainly  the  comma 
after  "Father"  is  a  misprint. 

309  actions)   misprint  for  "actions;"  so  eds. 

M9  P.  prints  a  comma  after  "long ; "  but  in  the  Quarto,  it  is  clearly 
a  period. 

102  D.  "Enter Lady  MABY  and  COCK."  C.  "Enter  Lords  BONVILLE, 

CLINTON,  and  AUDLEY,  Captain  BONVILLE,  Lady  MABY,  and  the  Clown." 

m  D."Enter  SEBVANT." 


The  Eoyall  King  and  the  Loyall  Subject.  113 

King.     Speake,  hath  he  sent  his  daughter? 

Serv.    Yes  my  Liege, 

He  hath  sent  his  daughters,  please  you  rest  satisfied, 
And  patiently  peruse  what  he  hath  sent.  335 

King.     We  are  full  of  expectations,  pray  admit 
Those  Presents  that  he  meanes  to  greete  us  with. 

Serv.    You  shall  my  Lord. 

Sound,  enter  with  two  Gentlemen-ushers  before  them,  the 
Queen  crown' d,  her  sister  to  attend  her  as  her  waiting-maid 

340 
with  a  traine. 

Serv.    Your  Queene  and  wife  crown'd  with  a  wreath  of 

gold 

Of  his  owne  charge,  with  that  this  double  dower 
Doubled  againe,  and  guarded  with  this  traine 
Of  Gentlewomen   according  to  her  state,  345 

My  Lord  presents  you:  this  his  younger  daughter, 
He  hath  bestow'd  a  hand-maide  to  your  Queene, 
A  place  that  may  become  her,  were  she  child 
Vnto  your  greatest  Peere;  had  he  had  more, 
More  had  he  sent;  these  worthlesse  as  they  be,  350 

He  humbly  craves  you  would  receive  by  me. 

King.     His  bounty  hath  no  limit,  but  my  Queene! 
Her  bright  aspect  so  much  perswades  with  me, 
It  charmes  me  more  than  his  humility. 
Arise  in  grace,  and  sweet,  forget  your  wrong.  355 

Queen.    My  joyes  unspeakable  can  finde  no  tongue 
To  expresse  my  true  hearts  meaning. 

King.    Beauteous  Maide, 
You  are  our  Sister,  and  that  royall  Title 
From  all  disgrace  your  freedome  shall  proclaime.  360 

835  D.  "sent.     (Delivers  a  letter  which  the  King  reads." 

840  C.  "her  sister  KATHEEINE"  etc.    D.  "Flourish"  for  "Sound." 

341  D.  "and  a  Train  of  Ladies  following." 

347  a  hand-maide)  possibly  "as"  should  be  read. 

882 D.  "my  Queen!  (Queen  kneels." 

388  D.  "King.  (To  Cath.)" 


114  The  Royall  King  and  the  Loyall  Subject. 

Kath.     I  finde  your  Grace  the  same  my  noble  Father 
Hath  still  reported  you ;  royall  in  all, 
By  whom  the  vertuous  rise,  th'  ignoble  fall. 

Prince.     I  have  not  seene  a  Lady  more  compleate; 
Her  modesty  and  beauty,  both  are  matchlesse.  365 

King.    Am  I  a  King,  and  must  be  exceeded  still  ? 
Or  shall  a  subject  say  that  we  can  owe  ? 
His  bounty  we  will  equall,  and  exceed; 
We  have  power  to  better  what  in  him's  but  well. 
Your  free  opinions  Lords,  is  not  this  Lady  370 

The  fairer  of  the  twaine?  how  durst  our  subject 
Then  dally  with  us  in  that  high  designe  ? 

Chest.     With  pardon  of  the  Queene,  shee's  paralell'd 
By  her  faire  Sister. 

Clin.     Were  my  censure  free,  375 

I  durst  say  better'd. 

Prince.     Were  it  put  to  me, 
I  should  avow  she,  not  the  Queene  alone 
Excells  in  grace:  but  all  that  I  have  seene 

King.    Dost  love  her  ?  Prince.    As  my  honour,  or  my 

life.  380 

King.    Her  whom  thou  so  much  praisest,  take  to  wife. 

Prince.     You  blesse  my  youth. 

Kate.     And  strive  to  eternize  me. 

Queen.     Nor  in  this  joy  have  I  the  meanest  part, 
Now  doth  your  Grace  your  inward  love  expresse  385 

To  me,  and  mine. 

King.    I  never  meant  thee  lesse : 
Thy  Sister  and  thy  daughter  freely  imbrace, 
That  next  thee  hath  our  Kingdomes  second  place. 
How  say  you  Lords,  have  we  requited  well  390 

Our  subjects  bounty?  are  we  in  his  debt? 

Aud.     Your  Highnesse  is  in  courtesie  invincible. 

Bonv.     And  bountifull  beyond  comparison. 

""The  dash  after  "seene"  does  not  seem  necessary;  the  sense  is  quite 
complete. 


The  Boy  all  King  and  the  Loyall  Subject.          115 

Chest.    This  must  not  hold,  prevention  out  of  hand, 
For  if  the  Martiall  rise,  we  stand  not  long.  395 

Clin.    Our  wits  must  then  to  worke. 

Chest.    They  must  of  force. 
This  is  not  that  to  which  our  fortunes  trust. 

King.    Let  then  our  subject  know  his  King  hath  power 
To  vanquish  him  in  all  degrees  of  honour,  400 

And  he  must  now  confesse  him  selfe  excelled : 
With  what  can  Heaven  or  Earth  his  want  supply 
To  equall  this  our  latest  courtesie  ? 
We  have  the  day,  we  rise,  and  he  must  fall 
As  one  subdu'd.  405 

Serv.    His  Highnesse  knows  not  all, 
One  speciall  gift  he  hath  reserv'd  in  store, 
May  happily  make  your  Grace  contend  no  more  . 

King.    No  sir  ?  thinke  you  your  Master  will  yet  yeeld  ? 
And  leave  to  us  the  honour  of  the  day?  410 

I  wish  him  here  but  this  last  sight  to  see, 
To  make  him  us  acknowledge. 

Serv.    On  my  knee 
One  boone  I  have  to  begge. 

King.    Speake,  let  me  know  415 

Thy  utmost  suite. 

Serv.    My  noble  Master  stayes 
Not  f arre  from  Court,  and  durst  he  be  so  ambitious 
As  but  to  appeare  before  you,  and  present  you 
With  a  rich  gift  exceeding  all  have  past,  420 

The  onely  perfect  token  of  his  zeale, 

"*D.,  C.  "Chest.  (Aside  to  Clinton)  This"  etc. 

"•D.  "Serv.  (Aside.)" 

408  happily.    C.  "haply." 

408  C.  "King.  No  sir!"  If  the  servant's  speech  is  aside,  as  D.  thinks, 
possibly  we  should  read  "Now  sir!"  here.  The  speeches  are  rather 
unsatisfactory,  as  they  stand.  Or,  if  the  servant  addresses  his  last 
two  lines  to  the  King,  his  answer  might  be  read,  with  but  small  change 
in  the  printed  words,  and  much  greater  clearness:  "No  sir?  think  you 
your  Master  will  not  yeeld?" 


116  The  Roy  all  King  and  the  Loyall  Subject. 

He  would  himselfe  perpetually  hold  vanquish't 
In  all  degrees  of  love  and  courtesie. 

King.    For  our  Queenes  love,  and  our  f  aire  daughters  sake, 
We  doe  not  much  care  if  we  grant  him  that.  425 

Admit  him  and  his  presence  urge  with  speed; 
Well  may  he  imitate,  but  not  exceed. 

Chest.    I  f eare  our  fall :  if  once  the  Martiall  rise, 
Downe,  downe  must  we. 

Clin.    Therefore  devise  some  plot  430 

His  favour  to  prevent. 

Chest.    Leave  it  to  me. 

King.     Lords,  we  are  proud  of  this  our  unity, 
Double  Alliance,  of  our  sonnes  faire  choice, 
Since  'tis  applauded  by  your  generall  voyce;  435 

The  rather  since  so  matchlesse  is  our  Grace, 
That  force  perforce  our  subject  must  give  place. 

Enter  the  Martiall,  with  a  rich  Cradle  borne  after  him 
by  two  Servants. 

Mar.  Not  to  contend,  but  to  expresse  a  duty  440 

Of  zeale  and  homage  I  present  your  grace 
With  a  rich  Jewell,  which  can  onely  value 
These  royall  honours  to  my  Daughters  done. 

King.    Value  our  bounty?  shouldst  thou  sell  thy  selfe 
Even  to  thy  skin,  thou  couldst  not  rate  it  truely.  445 

Mar.    My  Liege,  I  cannot,  but  in  liew  and  part, 
Though  not  in  satisfaction,  I  make  bold 
To  tender  you  this  Present. 

King.     What's  the  project? 

Here's  cost  and  art,  and  amply  both  exprest,  450 

I  have  not  view'd  the  like. 

Prince.    'Tis  wondrous  rare, 
I  have  not  seene  a  Modell  richlier  fram'd. 

Princesse.    Or  for  the  quantity  better  contriv'd : 
This  Lord  in  all  his  actions  is  still  noble,  455 

Exceeding  all  requitall. 

428  D.,  C.  "Chest.  (Aside  to  Clinton)  I  fear"  etc. 


The  Royall  King  and  the  Loyall  Subject.          117 

King.     'Tis  a  brave  out-side. 

Mar.     This  that  you  see  my  Lord  is  nothing  yet; 
More  than  its  worth  it  hath  commended  bin: 
This  is  the  case,  the  Jewell  lyes  within,  460 

Pleaseth  your  Grace  t'unvaile  it. 

King.    Yes,  I  will: 
But  e're  I  open  it  my  Lord,  I  doubt 
The  wealth  within  not  equalls  that  without. 

King.    What  have  we  here  ?  465 

Mar.    A  Jewell  I  should  rate, 
Were  it  mine  owne,  above  your  Crowne  and  Scepter. 

King.      A.  child  ? 

Mar.     A  Prince,  one  of  your  royall  blood: 
Behold  him  King,  my  grand-child,  and  thy  sonne,  470 

Truely  descended  from  thy  Queene  and  thee, 
The  Image  of  thy  selfe. 

King.    How  can  this  be  ? 

Queen.    My  royall  Liege  and  Husband,  view  him  well, 
If  your  owne  favour  you  can  call  to  minde,  475 

Behold  it  in  this  Infant,  limn'd  to'th  life ; 
Hee's  yours  and  mine,  no  kinred  can  be  nearer. 

King.     To  this  rich  Jewell  I  hold  nothing  equall, 
I  know  thee  vertuous,  and  thy  father  loyall ; 
But  should  I  doubt  both,  yet  this  royall  Infant  480 

Hath  such  affection  in  my  heart  imprest, 
That  it  assures  him  mine:  my  noble  subject, 
Thou  hast  at  length  o're  come  me,  and  I  now 
Shall  ever,  ever  hold  me  vanquished. 

Had'st  thou  sought  Earth  or  Sea,  and  from  them  both     485 
Extracted  that  which  was  most  precious  held, 

464  D.  "that  without.    (Uncovers  it." 

485  C.,  P.  omit  "King.",  correctly.  C.  notes :  "The  prefix  'King'  is 
unnecessarily  placed  before  this  interrogatory  in  the  old  copy:  it  is 
part  of  the  previous  speech." 

468  C.  "A  child!"  wrongly. 

4TSD.,  C.  "limn'd  to  the  life."  The  abbreviation  in  the  text  stands 
for  either  "f'the,"  or  "to  ffc'life." 


118  The  Roy  all  King  and  the  Loyall  Subject. 

Thou  nothing  could'st  have  found  to  equall  this, 

This,  the  mixt  Image  of  my  Queene  and  me ; 

Here  then  shall  all  my  emulation  end, 

O'recome  by  thee  our  subject,  and  our  friend.  490 

Mar.    Your  vassal,  and  your  servant,  that  have  strove 
Onely  to  love  you,  and  your  royall  favours : 
Not  to  requite,  for  that  I  never  can; 
But  to  acknowledge,  and  in  what  I  may 
To  expresse  my  gratitude.  495 

King.     Thine  is  the  conquest: 
But  shall  I  gee't  o're  thus  ?  'tis  in  my  head 
How  I  this  lost  dayes  honour  shall  regaine, 
A  gift  as  great  as  rich  I  have  in  store, 
With  which  to  gratify  our  subjects  love,  500 

And  of  a  value  unrequitable: 
Thou  hast  given  me  a  Grand-child,  and  a  sonne, 
A  royall  infant,  and  to  me  most  deare, 
Yet  to  surpasse  thee  in  this  emulous  strife, 
I  give  thee  here  a  daughter  and  a  wife.  505 

Now  must  thou  needs  confesse  the  conquest  wonne 
By  me  thy  King,  thy  Father,  and  thy  sonne. 

Mar.     Your  father,  sonne,  and  subject  quite  surpast, 
Yeelds  himselfe  vanquish't,  and  o'recome  at  length. 

Princesse.     You  have  not  my  consent  yet.  510 

Mar.     Madam,  no; 

The  King  doth  this,  his  bounty  to  expresse. 
Your  love  is  to  your  selfe,  and  therefore  free, 
Bestow  it  where  you  please. 

Princesse.    Why  then  on  thee :  515 

He  that  the  Father  doth  so  much  respect, 
Should  not  me-thinks  the  daughters  love  despise. 
'Tis  good  for  Maides  take  Husbands  when  they  may, 
Heaven  knowes  how  long  we  may  be  forc't  to  stay. 

488  C.  "and  me!" 

4*3  j)   «for  that  fa  never  can." 

497  D.,  C.  "give't  o'er." 


The  Roy  all  King  and  the  Loyall  Subject.           119 

King.    Now  Lords,  these  Nuptialls  we  will  solemnize    520 
In  all  high  state,  in  which  we  will  include 
Yours  noble  Bonvile,  and  with  masks  and  revells 
Sport  out  the  tedious  nights,  each  hand  his  Bride 
Doubly  by  us  from  either  part  ally'd. 

Enter  Clowne.  525 

Cock.  Why  this  is  as  it  should  be ;  now  doe  I  smell  Court- 
tier  already,  I  feele  the  Souldier  steale  out  of  me  by  degrees, 
for  Souldier  and  Courtier  can  hardly  dwell  both  together  in 
one  bosome.  I  have  a  kind  of  fawning  humour  creeping  up- 
on me  as  soone  as  I  but  look't  into  the  Court-gate;  and 
now  530 

could  I  take  a  bribe,  if  any  would  be  so  foolish  to  gee't  me. 
Now  farewell  Gun  powder,  I  must  change  thee  into  Da- 
mask-powder ;  for  if  I  offer  but  to  smell  like  a  souldier,  the 
Courtiers  will  stop  their  noses  when  they  passe  by  me.     My 
Caske  I  must  change  to  a  Cap  and  a  Feather,  my  Bandilee- 

535 

ro  to  a  Skarfe  to  hang  my  Sword  in,  and  indeede,  fashion 
my  selfe  wholly  to  the  humours  of  the  time.   My  Peece  I 
must  alter  to  a  Poynado,  and  my  Pike  to  a  Pickadevant: 
onely  this  is  my  comfort,  that  our  provant  will  be  better 
here  in  the  Court  than  in  the  Campe :  there  we  did  use  to  lye 

540 

hard,  and  seldome:  here  I  must  practise  to  lye  extreamely, 
and  often:  But  whil'st  I  am  trifling  here,  I  shall  loose  the 

""D.  "allied.    (Exeunt."    C.   "ally'd.     [Exeunt  King,  &c." 

525 D.  "Enter  COCK."  C.  "Manet  COCK,  the  Clown."  Note:  "The  old 
stage-direction  is  'Enter  Clown,'  and  nothing  is  said  of  the  departure 
of  the  King,  etc.,  from  the  scene.  The  clown  had  not  quitted  the 
stage  after  his  entrance  on  p.  65,  (1.312.)  and  he  remains  behind  the 
royal  cortege." 

629  D.  "should  be!" 

829  D.  "I  had  a  kind"  etc. 

M1D.,  C.  "give't  me." 


120  The  Royall  King  and  the  Loyall  Subject. 

sight  of  the  Solemnity:  The  Prince  is  married,  and  the 
Mar- 

tiall's  married,  and  my  Master's  married,  there  will  be  sim- 
ple 

doings  at  night.  Well,  I  must  hence,  for  I  beleeve,  the  King 

545 

the  Queene,  and  the  rest  of  the  Lords  will  use  this  place  for 

their  revells.    Dixi. 


Actus  Quintus.  1 

Enter  Clinton  and  Chester. 

Clin.     And  why  so  sad  my  Lord  ? 

Chest.     I  am  all  dulnesse, 

There's  no  life  in  me,  I  have  lost  my  spirit,  5 

And  fluence  of  my  braine :  observe  you  not 
In  what  a  height  yon  fellow  now  resides 
That  was  so  late  dejected ;  trebly  grafted 
Into  the  Royall  blood  ?  what  can  succeed, 
But  that  we  all  our  honours  must  resigne,  10 

And  he  of  them  be  repossest  againe? 

Clin.     The  Marriages  indeed  are  celebrated. 

Chest.    And  they  have  all  our  pointed  stratagems 
Turn'd  backe  upon  our  selves. 

Clin.     What,  no  prevention?  15 

Chest.    His  Basses  are  so  fixt  he  cannot  shrinke, 
Being  so  many  wayes  ingraft  and  planted 
In  the  Kings  blood:     but  our  supporters  stand 
As  shak't  with  Earthquakes,  or  else  built  on  sand. 

MTD.,  C.  "Dixi.  (Exit." 
1D.  "Act  V,  Scene  I" 
*C.  "Enter  Lords  CLINTON  and  CHESTER." 


The  Royall  King  and  the  Loyall  Subject.          121 

Enter  Audley  and  Bonvile.  20 

And.    My  Lords  attend  the  King,  and  cleare  this  chamber, 
For  this  nights  revells  'tis  the  place  prepar'd. 

Bon.    Your  duties  Lords,  the  King's  upon  his  entrance. 

Enter  the  King,  the  Queene,  the  Prince,  his 

wife,  the  Martiall  and  the  Princesse.  25 

King.    Ey,  so  'tmust  be,  each  man  hand  his  owne: 
For  I  am  where  I  love;  we  are  even  coupled, 
Some  Musicke  then. 

Princesse.     Here's  one  falls  off  from  me. 

King.    How  now  my  Lord,  dejected  in  your  looks  ?        30 
Or  doth  our  sports  distaste  you? 

Mar.    Pardon  me, 
I  cannot  dance  my  Liege. 

King.    You  can  looke  on : 

My  Lord,  you  take  his  place,  wee'le  have  a  measure,  35 

And  I  will  lead  it;  bid  the  Musicke  strike. 

A  measure:  in  the  midst  the  Martiall  goes  disconten- 
ted away. 

So,  well  done  Ladies:  but  we  misse  the  Husband 

To  our  faire  Daughter,  what's  become  of  him?  40 

Chest.     Gone  discontented  hence. 

King.     What  might  this  meane? 
Doth  he  distaste  his  Bride,  or  envy  us 
That  are  degree'd  above  him?  where's  our  Queene? 

Queen.    My  Liege  ?  45 

King.    You  shall  unto  him  instantly, 

20  D.  "Enter  AUDLEY  and  CAPTAIN."    C.  "Enter  Lords"  etc. 
24  25  j)    "Enter  the  KING,  leading  the  QUEEN  ;  the  PRINCE,  his  Bride; 
and  the  MARSHAL,  the  PRINCESS."    C.  adds  to  the  text,  "Lords,  etc." 
28  D.  "Ay,  so  it  must  be : "  this  emendation  is  required  by  the  verse. 

80  C.  "looks," 

81  C.  "Or  do  our  sports"  etc. 
"D.  No   ?  after  "Liege." 


122  The  Roy  all  King  and  the  Loyall  Subject. 

Attended  with  a  beauteous  traine  of  Ladies, 

And  to  his  Chamber  beare  his  princely  Bride. 

Bonvile,  take  you  her  royall  Dower  along, 

You  shall  receive  it  of  our  Treasurer.  50 

Cap.    I  shall  my  Lord. 

King.     Usher  the  Queene  and  Ladies,  be  their  guide, 
That  done,  each  one  to  bed  with  his  faire  Bride. 

Enter  Martiall. 

Mar.     I  am  so  high,  that  when  I  looke  but  downe,        55 
To  see  how  farre  the  earth  is  under  me, 
It  quakes  my  body,  and  quite  chills  my  blood: 
And  in  my  feare  although  I  stand  secure, 
I  am  like  him  that  falls,  I  but  a  subject, 
And  married  to  the  Daughter  of  the  King,  60 

Though  some  may  thinke  me  happy  in  this  match, 
To  me  'tis  fearefull:  who  would  have  a  wife 
Above  him  in  command,  to  imbrace  with  awe, 
Whom  to  displease,  is  to  distaste  the  King? 
It  is  to  have  a  Mistris,  not  a  wife,  65 

A  Queene,  and  not  a  subjects  bed-fellow. 
State  I  could  wish  abroad  to  crowne  my  head, 
But  never  yet  lovM  Empire  in  my  bed. 


Enter  servant. 

Serv.      The   Queene  your   daughter  with   your  princely 
Bride,  70 

And  other  Ladies,  make  way  towards  your  chamber. 
Mar.     'Tis  open  to  receive  them,  pray  them  in. 

49 Bonvile)   D.  notes:     "The  Captain  is  addressed." 

53  Bride.)   D.  "Exeunt."    C.  "Exeunt  omnes." 

54  D.  "Scene  changes  to  the  MARSHAL'S  Chamber." 
58  D.  "(Although  I  stand  secure)" 

*  C.   "Am  married"  etc.     The  emendation  is  needless,  since   "I 

King"  is  an  exclamation.     "Though  some"  etc.,   really  begins   a  new 
sentence  and  phase  of  the  thought. 


The  Roy  all  King  and  the  Loyall  Subject.          123 

Enter  Bonvile,  the  Queene,  the  Princesse,  &c. 

Queen.    My  Lord  the  King  commends  his  love  to  you 
In  your  faire  Bride,  whom  royally  conducted  75 

He  hath  sent  to  be  the  partner  of  your  bed. 

Mar.     Whom  we  receive  in  the  armes  of  gratitude, 
Duty  to  him,  and  nuptiall  love  to  her. 

Prince.     'Tis  well  they  brought  me,  trust  me  my  deare 

Lord, 

I  should  have  scarce  had  face  to  have  come  my  selfe ;  80 

But  yet  their  boldnesse  mixt  with  mine  together, 
Makes  me  to  venter  I  yet  scarce  know  whither. 

Mar.     'Tis  to  our  Nuptiall  bed. 

Princesse.     Ey  so  they  say, 

But  unto  me  it  is  a  path  unknowne ;  85 

Yet  that  which  cheeres  me,  I  shall  doe  no  more 
Than  those,  and  such  as  I,  have  done  before. 
Sure  'tis  a  thing  that  must,  though  without  skill, 
Even  when  you  please,  I  am  ready  for  your  will. 

Cap.     With  her  the  King  hath  sent  this  princely  dower, 
In  which  his  love  and  bounty  hee  commends. 

Mar.    You  are  noble  Sir,  and  honour  waites  on  you 
To  crowne  your  future  fortunes :  for  that  Casket, 
Her  beauty  and  her  birth  are  dower  sufficient 
For  me  a  subject.  95 

I  cannot  thinke  so  much  good  to  my  King 
As  I  am  owing  for  her  single  selfe: 
Then  with  all  duty  pray  returne  that  summe. 
Her  dower  is  in  her  selfe,  and  that  Pie  keepe 
Which  in  these  loyall  armes  this  night  shall  sleepe :  100 

That  is  the  Kings,  with  that  this- Jewell  too, 
I  thinke  her  cheape  bought  at  that  easie  rate; 

73  D.  "Enter  CAPTAIN,  the  QUEEN,  PRINCESS,  etc.,  etc."  C.  "Enter 
Captain  BONVILLE,"  etc. 

79 D.,  C.  "Princess.  Tis  well"  etc.  C.  notes:  "In  the  old  copy,  this 
speech  is  given  to  the  Prince,  who  is  not  upon  the  stage." 

88 D.  "Since  'tis  a  thing"  etc.    Note:     "The  quarto  reads  'Sure'." 


124  The  Eoyall  King  and  the  Loyall  Subject. 

My  second  duty  in  that  gift  commend, 

Were  I  worth  more,  more  I  have  will  to  send. 

Cap.   An  Emperor  cannot  shew  more  Royalty  105 

Than  this  brave  Peere,   hee's   all   magnificent: 
I  shall  with  the  best  eloquence  I  have, 
Make  knowne  your  thoughts. 

Mar.     To  all  at  once  good  night: 

Save  this  my  beauteous  Bride,  no  wealth  I  prize,  110 

That  hath  my  heart  tooke  captive  in  her  eyes. 
Lights  for  the  Queene  and  Ladies,  night  growes  old, 
I  count  my  Vertue  treasure,  not  my  Gold. 

Exeunt  divers  wayes. 

Enter  Clinton  to  the  Earle  Chester  in  his  study. 

Clin.    What  not  at  rest  my  Lord  ? 

Chest.    Why  who  can  sleepe 

That  hath  a  labouring  braine,  and  sees  from  farre 
So  many  stormes  and  tempests  threaten  him? 
It  is  not  in  my  element  to  doo't  120 

Clin.    Finde  you  no  project  yet  how  to  remove  him  ? 

Chest.    None,  none,  and  therefore  can  I  finde  no  rest. 

Clin.     It  growes  towards  day. 

Chest.    That  day  is  night  to  me, 

Whilst  yon  Sunne  shines:  I  had  this  even  some  conference 
In  private  with  the  King,  in  which  I  urg'd 
The  Martialls  discontent,  withall  inferr'd, 
That  by  his  looke  the  Princesse  he  despise'd; 
The  King  chang'd  face:  and  could  we  second  this 
By  any  new  conjecture,  there  were  hope  130 

To  draw  him  in  displeasure. 

Clin.    Watch  advantage, 
And  as  you  finde  the  humour  of  the  King, 

UBD.  "CHESTER  is  discovered  in  his  Study. 

Enter  CLINTON." 

C.  "Enter  CLINTON  to  CHESTER  in  his  study." 
mD.  "yon  sun  shines"   Note:     i.  e.,  the  Marshal." 


The  Roy  all  King  and  the  Loyall  Subject.          125 

Worke  it  unto  the  Martialls  deepe  disgrace: 
But  soft  the  Prince.     Enter  the  Prince  and  Katherine: 
*  Kath.    So  early  up,  how  did  you  like  your  rest  ? 

Prince.    I  found  my  most  rest  in  my  most  unrest; 
A  little  sleepe  serves  a  new  married  man: 
The  first  night  of  his  brydalls  I  have  made  you 
A  Woman  of  a  Maide.  140 

Kath.    You  were  up 
Both  late  and  early. 

Prince.     Why  you  were  abroad 
Before  the  Sunne  was  up,  and  the  most  wise 
Doe  say  'tis  healthfull  still  betimes  to  rise.  145 

Good  day. 

Chest.     In  one,  ten  thousand. 

Prince.    Lords,  you  have  not  scene 
The  King  to  day?  it  was  his  custome  ever 
Still  to  be  stirring  early  with  the  Sunne;  150 

But  here's  his  Majesty. 

Enter  Captaine  and  the  King,  Audley,  and  Bonvile. 

King.     Not  all  your  smooth  and  cunning  Oratory 
Can  colour  so  his  pride,  but  we  esteeme  him 
A  flattering  Tray  tor,  one  that  scornes  our  love,  155 

And  in  disdaine  sent  backe  our  Daughters  Dower: 
Your  Judgment  Lords? 

Chest.     Hath  he  refus'd  the  Princesse? 

135  D.  "the  Prince.    (They  retire  to  the  ~back  of  the  stage." 

is»  D   "Bridal."    C.  ends  his  sentence  with  "bridals,"  and  begins  anew. 

MI  1*2  Q   printg  together :     "You  were  up  both  late  and  early." 

146  D.  "by  times  to  rise." 

146  D.  "  (  CHESTEE  and  CLINTON  come  forward. 
Good  day." 

152  D   "Enter  KING,  CAPTAIN,  ATJDLEY,  and  BONVILE." 

C.  "Enter  Captain  BONVILLE  and  the  King;  Lords  ATJDLET  and 
BONVILLE."  Note:  "In  this  order,  the  dramatis  personae  are  named 
in  the  old  copy,  in  the  introduction  to  the  scene;  it  seemed  unnecessary 
to  alter  it  by  giving  the  King  precedence  of  Captain  Bonville,  who,  as 
usual,  is  only  called  "Captain." 


126  The  Royall  King  and  the  Loyall  Subject. 

King.     No;  but  her  Dower  sent  back,  and  insolently; 
Her  whom  we  gave,  he  with  a  gift  would  buy,  160 

A  Jewell:  shall  we  merchandize  our  Daughter, 
As  one  not  able  to  bestow  her  nobly, 
But  that  our  poverty  must  force  us  sell  her? 

Cap.    Your  Highnesse  much  mispriseth  his  intent, 
For  he  had  no  such  thought.  165 

King.    We  know  his  pride, 
Which  his  ambition  can  no  longer  shadow. 

Chest.    Your  Highnesse  might  doe  well  to  call  in  question 
His  insolence,  and  to  arraigne  him  for't. 

King.     Be  you  his  Judges  Bonvile,  Audley,  you ;  170 

Command  him  straight  on  his  Allegiance, 
To  make  appearance,  and  to  answer  us 
Before  our  Lords  of  his  contempt  and  scorne. 

Bonv.    Shall  we  command  him  hither  ? 

King.    From  his  bed,  175 

And  if  convicted,  he  shall  surely  pay  for't. 

Aud.    We  shall  my  Lord. 

Chest.     Arraigne  him  on  the  suddaine,  e're  provided; 
Let  him  not  dreame  upon  evasive  shifts, 
But  take  him  unprepared.  180 

Clin.    Shall  we  command 
A  Barre,  and  call  a  lury  of  his  Peeres, 
Whil'st  Chester,  that  enjoyes  the  place  of  Martiall, 
Objects  such  Allegations  'gainst  his  life, 
As  he  hath  drawne  out  of  his  rude  demeanor?  185 

King.    It  shall  be  so ;  a  Barre,  and  instantly 
We  will  our  selfe  in  person  heare  him  speake, 
And  see  what  just  excuse  he  can  produce 
For  his  contempt. 

Prince.  My  gracious  Lord  and  Father,  190 

What  he  hath  done  to  you,  proceeds  of  honour, 
Not  of  disdaine,  or  scorne ;  hee's  truely  noble : 

150  unprepared)   should  be  "unprepar'd." 

188  C.  places  a  full  stop  after  "instantly,"  as  is  probably  correct. 


The  Roy  all  King  and  the  Loyall  Subject.          127 

And  if  a  Regall  bounty  be  a  sinne 

In  any  subject,  hee's  onely  guilty 

iOf  that  true  vertue.  195 

Cap.    Saw  your  Majesty. 

With  what  an  humble  zeale,  and  prostrate  love 
He  did  retender  your  f  aire  Daughters  Dower, 
You  would  not  his  intent  thus  misreceive. 

Chest.   'Tis  humble  pride,  and  meere  hypocrisie  200 

To  blinde  the  King,  'tis  but  ambitious  zeale, 
And  a  dissembling  cunning  to  aspire. 

Kath.    My  Father  call'd  in  question  for  his  life  ? 
Oh  let  not  me  a  sad  spectator  be 
Of  such  a  dismall  object.  205 

Prince.    IsTor  will  I, 
But  leave  them  to  their  hated  cruelty. 

King.    This  is  no  place  for  Ladies,  we  allow 
Her  absence ;  of  the  rest  let  none  depart, 
Till  we  have  search't  the  cunning  of  his  heart  210 

A  Barre  set  oui,  the  King  and  Chester,  with  Clinton,  and 
the  Prince,  and  Captaine  take  their  seates,  Audley  and 
Bonvile  bring  him  to  the  Barre  as  out  of  his  bed,  then  take 
their  seates. 

Mar.     A  Barre,  a  Judgement  seate,  and  lury  set  ?  215 

Yet  cannot  all  this  daunt  our  innocence. 

Chest.    You  have  disloyally  sought  to  exceed 
The  King  your  Soveraigne,  and  his  royall  deeds 
To  blemish,  which  your  fellow  Peeres  thus  conster, 

184  C.  "he  is  only"  etc.,  corrects  the  metre. 

198  C.  "dower  ?"  but  this  is  no  question. 

*°»D.  "depart,  (Exit  Cath."    ' 

211  j)  «The  KING,  PRINCE,  CHESTER,  CLINTON,  and  CAPTAIN,  take 
their  seats:  AUDLEY  and  BONVILE  bring  the  MARSHAL  to  the  bar  as 
just  risen  from  his  bed,  and  then  take  their  seats." 

212 C.  "and  Captain  BONVILLE,  take  their  seats:  Lords  AUDLEY"  etc. 

215 D.  "a  jury  set?"  C.  "set!" 

"•  D.  "construe." 


128  The  Eoyall  King  and  the  Loyall  Subject. 

That  strengthen'd  by  th'  alliance  of  the  King,  220 

And  better  armed  by  the  peoples  love, 

You  may  prove  dangerous. 

In  policy  of  state  to  quench  the  sparkes 

Before  they  grow  to  flame,  and  top  your  height, 

Before  your  spacious  branches  spread  too  farre,  225 

What  to  this  generall  motion  can  you  say, 

Before  we  taxe  you  with  particulars  ? 

Mar.    With  reverence  to  the  State  'fore  which  I  stand, 
That  you  my  Lord  of  Chester  appeare  shallow, 
To  thinke  my  actions  can  disgrace  the  Kings,  230 

As  if  the  luster  of  a  petty  Starre 
Should  with  the  Moone  compare :  Alas,  my  deeds 
Conferred  with  his,  are  like  a  Candles  light 
To  out-shine  the  mid-dayes  glory.    Can  the  King 
The  glorious  mirrour  of  all  gratitude,  235 

Condemne  that  vertue  in  anothers  bosome, 
Which  in  his  owne  shines  so  transparantly  ? 
Oh  pardon  me,  meere  vertue  is  my  end, 
Whose  pitch  the  King  doth  many  times  transcend. 

Clin.     To  taxe  you  more  succinctly,  you  have  first       240 
Abus'd  the  King  in  sending  to  the  Court 
Your  daughter  lesse  faire,  and  the  least  belov'd. 

Aud.    And  that  includes  contempt  most  barbarous, 
Which  you  in  that  unsubject-like  exprest : 
Your  former  emulations  we  omit,  245 

As  things  that  may  finde  tolerable  excuse, 
And  are  indeed  not  matters  capitall : 
But  to  the  best  and  greatest,  when  the  King, 
Out  of  his  bounty  and  magnificence 

Vouchsaft  to  stile  thee  with  the  name  of  sonne  250 

Being  but  a  subject,  with  contorted  browes 

221 D.  "arm'd,"  destroys  the  metre. 

223  D.  "  "fig  policy"  etc.    Not* :     "The  quarto  reads  'In  policy'." 
229  According  to  the  methods  of  punctuation  pursued  by  the  printer 
of  the  Quarto,  a  comma  should  follow  "Chester." 
248  Should  we  not  read :    "the  last  and  greatest  ?" 


The  Eoyall  King  and  the  Loyall  Subject.          129 

And  lookes  of  scorne  you  tooke  his  courtesie, 
And  in  contempt  sent  backe  the  Princesse  dower. 

Chest.    Most  true ;  a  grounded  proposition 
To  question  you  of  life.  255 

Mar.    My  life  my  Lords  ? 
It  pleases  me,  that  the  King  in  person  daines 
To  grace  my  cause  with  his  Majesticke  eare : 
You  plead  for  me  in  this,  and  speake  my  excuse. 
I  have  but  two  in  all  260 

He  sent  for  one,  and  he  receiv'd  them  both, 
With  them  a  sweete  and  lovely  Prince  to  boote ; 
Who  ever  lost,  I  am  sure  the  King  hath  wonne 
At  once,  a  wife,  a  daughter,  and  a  sonne. 

Bonv.  'Tis  true  my  Lord,  we  all  can  witnesse  it.  265 

Mar.     He  that  my  discontent  objects  to  me, 
With  the  faire  Princesse,  speakes  uncertainly. 
The  man  judicious  such  for  f ooles  allowes, 
As  have  their  inward  hearts  drawne  in  their  browes : 
Is  there  in  all  that  bench  a  man  so  honest  270 

That  can  in  this  be  discontent  with  me? 
I  charge  you  all ;  those  favours  I  receive 
From  his  high  Majesty,  I  swallow  not 
With  greedy  appetite,  perhaps  like  you: 
When  I  am  grac't,  it  comes  with  awe  and  feare,  275 

Lest  I  offend  that  Prince  that  holds  me  deare. 
That  for  my  brow. 

Chest.    But  for  your  scornfull  sending 

280  There  is  certainly  an  omission  here,  "I  have  but  two"  of  course 
refers  to  his  daughters,  but  they  have  not  been  mentioned,  except  that 
Audley,  in  242,  speaks  of  one.  The  Marshal  must  have  said:  "As  for 
my  daughters,"  or  used  some  equivalent  phrase. 

zes  j)  "capt,  'Tis  true"  etc.  ISTote :  "The  quarto  has  Bonvile  prefixed 
to  this  speech;  the  nobleman,  however,  was  probably  too  finished  a 
courtier  to  have  opened  his  lips  on  this  occasion,  and  I  had  the  less 
hesitation  in  making  the  alteration,  from  some  preceding  confusion 
in  this  particular  in  the  quarto,  which  is,  however,  I  believe,  now 
rectified." 


130  The  Roy  all  King  and  the  Loyall  Subject. 

Of  the  faire  Princesse  dower  backe  to  th'  King, 

How  can  you  answer  that  ?  280 

Mar.    Why  Chester  thus : 
I  am  a  man,  though  subject;  if  the  meanest 
Lord  or'e  his  wife;  why  should  that  priviledge 
Be  onely  bard  me  ?  should  I  wive  an  Empresse, 
And  take  her  dowerlesse,  should  we  love,  or  hate,  285 

In  that  my  bounty  equalls  her  estate. 
Witnesse  that  ludge  above  you,  I  esteeme 
The  Princesse  dearely,  and  yet  married  her 
But  as  my  wife,  for  which  I  am  infinitely 
Bound  to  the  King:  why  should  I  grow  ingag'd  290 

Above  my  power,  since  this  my  Lords  you  know, 
The  lease  we  runne  in  debt,  the  lesse  we  owe. 
Give  me  my  thoughts,  and  score  you  on  I  pray, 
I  wish  no  more  than  I  have  meanes  to  pay.  294 

Chest.     Shall  we  my  Lord  his  actions  censure  freely? 

King.    And  sentence  them. 

Aud.    A  Persian  History 
I  read  of  late,  how  the  great  Sophy  once 
Flying  a  noble  Falcon  at  the  Herne, 

In  comes  by  chance  an  Eagle  sousing  by,  300 

Which  when  the  Hawke  espyes,  leaves  her  first  game, 
And  boldly  venters  on  the  King  of  Birds ; 
Long  tug'd  they  in  the  Ayre,  till  at  the  length 
The  Falcon  better  breath'd,  seiz'd  on  the  Eagle, 

279  C.  "to  the  King," 

282  D.  "the  meanest's  Lord  o'er"  etc.  D.  mistook  the  function  of 
"Lord,"  which  is  here  a  verb. 

288  D.,  C.  "her  estate?"  A  mistake,  "should"  being  conditional,  not 
interrogative.  Cf.  196-198  for  a  similar  error. 

287  D.  "that  judge,"  but  the  reference  is  probably  to  God,  not  the 
King. 

891  C.  "this,  my  lord,". 

292 C.  prints  a  f  after  "owe;"  if  anywhere,  it  belongs  after  "power," 
in  the  line  above. 

"•  Herne.    C.  "heron." 

100  D.  "It  comes." 

804 D.  "The  falcon   (better  breath'd)." 


The  Roy  all  King  and  the  Loyall  Subject.          131 

And  struck  it  dead:  The  Barons  prais'd  the  Bird,  305 

And  for  her  courage  she  was  peerelesse  held. 

The  Emperor,  after  some  deliberate  thoughts, 

Made  him  no  lesse :  he  caus'd  a  Crowne  of  gold 

To  be  new  fram'd,  and  fitted  to  her  head 

In  honour  of  her  courage:  Then  the  Bird  310 

With  great  applause  was  to  the  market-place 

In  triumph  borne,  where,  when  her  utmost  worth 

Had  beene  proclaim' d,  the  common  Executioner 

First  by  the  Kings  command  tooke  off  her  Crowne, 

And  after  with  a  sword  strooke  off  her  head,  315 

As  one  no  better  than  a  noble  Traytor 

Vnto  the  King  of  Birds. 

Chest.    This  use  we  make 
From  this  your  ancient  Persian  History, 
That  you  a  noble  and  a  courteous  Peere,  320 

Prais'd  for  your  hospitall  vertues  and  high  bounty, 
Shall  be  first  crown' d  with  Lawrell  to  your  worth: 
But  since  you  durst  against  your  Soveraigne 
Oppose  your  selfe,  you  by  your  pride  misled, 
Shall  as  a  noble  Traytor  loose  your  head.  325 

King.    That  Sentence  we  confirme,  and  it  shall  stand 
Irrevocable  by  our  streight  command. 

Mar.     I  am  glad  my  Liege  I  have  a  life  yet  left, 
In  which  to  shew  my  bounty,  even  in  that 
I  will  be  liber  all,  and  spend  it  for  you;  330 

Take  it,  'tis  the  last  Jewell  that  I  have, 
In  liew  of  which  oh  grant  me  but  a  grave. 

King.    A  Lawrell  wreath,  a  scaffold,  and  a  blocke, 

808  D.  "Made  her  no  less." 

827  D.  "strict  command." 

333 D.  "a  block!  (These  things  are  brought  in,  followed  by  the 
Executioner."  Note:  "This  stage  direction  is  not  in  the  quarto; 
something  of  the  sort,  however,  was  necessary,  as  it  seems  evident 
from  CATHERINE'S  calling  to  the  Executioner  to  forbear,  that  prepara- 
tion had  been  made  for  his  death  before  they  entered;  and  this,  on  the 
whole,  appears  to  be  the  proper  place  for  it." 


132  The  Boyall  King  and  the  Loijall  Subject. 

Our  selfe  will  see  the  Execution  done: 

Onely  thy  life  is  ours,  thy  goods  are  free.  335 

Mar.    My  Lord,  you  are  the  life  of  courtesie, 
And  you  are  kinde  unto  me  above  measure, 
To  give  away  what  might  enrich  your  selfe. 
Since  they  are  mine,  I  will  bestow  them  thus: 
The  best  of  those  that  were  so  late  but  yours  340 

My  Jewells,  I,  by  will,  restore  you  backe, 
You  shall  receive  them  separate  from  the  rest: 
To  you  the  Kings  sonne,  and  by  marriage  mine, 
On  you  I  will  bestow  my  Armory, 

Stables  of  Horse,  and  weapons  for  the  warres,  345 

I  know  you  love  a  Souldier:  to  the  Princesse, 
And  my  two  Daughters  I  give  equall  portions 
From  my  revenue;  but  if  my  faire  wife 
Proove,  and  produce  a  Male-child,  him  I  make 
My  universal  Heire,  but  if  a  Female,  350 

Her  Dower  is  with  the  rest  proportionable. 
The  next  I  give,  it  is  my  Soule  to  Heaven, 
Where  my  Creator  reignes;  my  words  thus  end, 
Body  to  earth,  my  Soule  to  Heaven  ascend. 

Enter  the   Queene,   Katherine,   the  Princesse,   and 

the  other  Lady.  356 

Princesse.    Stay.  Queen.    Hold. 

Kath.     Executioner  forbeare. 

Queene.     Heare  me  a  Daughter  for  a  Father  plead. 

Princesse.     Oh,  Father,  heare  me  for  my  Husbands  life. 
Doubly  ally'd,  I  am  his  Neece  and  Wife.  361 

Kath.     Oh  Father  heare  me,  for  a  Father  crave. 

Queene.    Than  sentence  him,  oh  let  me  perish  rather; 
I  pleade  for  him  that's  both  my  sonne  and  Father. 

Kath.  Oh  make  your  mercy  to  this  prisoner  free.          365 

Queene.  Father  to  us. 

856  D.  "Lady  Mary  Audley."    C.  "Lady  Mary." 
857 C.  "Stay!"   "Hold!"  etc. 


The  Eoyall  King  and  the  Loyall  Subject.          133 

Princesse.    And  husband  unto  me. 

King.     Hence  with  these  womanish  clamours. 

Prince.    Vnto  these 

Let  me  my  Liege  presume  to  adde  another,  370 

Behold  him  kneele  that  is  your  sonne  and  brother. 

Kath.    Your  Sister  and  your  Daughter  great  King  heare. 

Princesse.     Your  Mother  and  your  Daughter. 

Queene.     Or  like  deare, 
Your  Queene  and  Sister. 

Princesse.  Speake,  what  hath  he  done  ?  375 

Prince.  Who  ever  saw  a  father  on  a  sonne 
Give  sentence  ?  or  my  Royall  Lord,  which  rather 
Addes  to  your  guilt,  a  sonne  condemne  the  father  ? 

Chest.     My  Liege,  command  them  hence,  they  but  dis- 
turbe  380 

The  Traytor  in  his  death. 

King.     A  Traytor's  he 

That  dares  so  tearme  him,  Chester,  we  meane  thee: 
Our  best  of  subjects,  with  our  height  of  grace 
We  wedde  thee  to  us,  in  this  strict  imbrace  385 

Thy  vertues,  bounties,  envy'd  courtesies; 
Thy  courage,  and  thy  constancy  in  death, 
Thy  love  and  Loyalty  to  the  end  continued, 
More  than  their  clamorous  importunities 
Prevaile  with  us:  then  as  our  best  and  greatest  390 

ISTot  to  exceed,  but  equall  thee  in  love, 
To  end  betweene  us  this  Heroick  strife, 
Accept  what  we  most  pecious  hold,  thy  Life. 

Mar.    Which  as  your  gift  I'le  keepe,  till  Heaven  &  Nature 
Confine  it  hence,  and  alwayes  it  expose  395 

Vnto  your  love  and  service;  I  never  lov'd  it, 
But  since  'twas  yours,  and  by  your  gift  now  mine. 

882  D.  "A  traitor  he." 

884  D.  "(To  the  Marsh.)   Our"  etc. 

885  D.    "We   wed   thee   unto   us    in    this   embrace.    (Embraces    him" 
"embrace"  certainly  requires  a  period  after  it. 

891  All  eds.  read  "precious." 


134  The  Royall  King  and  the  Loyall  Subject. 

King.     I  observe  in  thee 
The  substance  of  all  perfect  Loyalty; 

In  you  save  flattery,  envy,  hate,  and  pride  400 

Nothing,  or  ought  to  goodnesse  that's  ally'd: 
Resigne  those  places  that  belong  to  him, 
Better  than  so  borne  noble,  be  unborne. 
Till  you  your  hearts  can  fashion  to  your  faces, 
We  here  suspend  you  from  your  stiles  and  places.  405 

Prince.    A  royall  doome. 

King.     Once  more  from  us  receive 
Thy  beauteous  Bride,  as  we  will  hand  our  Queene : 
The  Prince  already  is  possest  of  his. 

Nay  Bonvile,  as  your  Bridals  were  together,  410 

So  follow  in  your  ranke,  and  by  the  stile 
Of  a  Lord  Baron,  you  are  now  no  lesse 
If  you  dare  take  our  word :  Our  Funerals  thus 
Wee'le  turne  to  feasting,  and  our  blood  to  wines 
Of  most  choice  taste,  prest  from  the  purest  Grape.         415 
Our  noble  Martiall,  kinsman,  and  our  friend, 
In  our  two  vertues  after  times  shall  sing, 
A  Loyall  Subject,  and  a  Royall  King.  418 


480  D.  "(To  Chest,  and  Clint.)  In  you"  etc. 

•"D.  "to  goodness  thus  ally'd.     C.  "allied." 

No  italics  are  used  in  the  Epilogue  by  either  D.  or  C. 


The  Roy  all  King  and  the  Loyall  Subject.          135 


THE  EPILOGUE  TO  THE  1 

READER 

That  this  Play's  old  'tis  true,,  but  now  if  any 

Should  for  that  cause  despise  it,  we  have  many 

Reasons,  both  just  and  pregnant  to  maintaine  5 

Antiquity,  and  those  too,  not  al  vaine. 

We  know  (and  not  long  since)  there  was  a  time, 

Strong  lines  were  not  lookt  after,  but  if  rime, 

0  then  'twas  excellent:  who  but  beleeves, 

But  Doublets  with  stuft  bellies  and  bigge  sleeves,  10 

And  those  Trunke-hose  which  now  the  age  doth  scorn, 

Were  all  in  fashion,  and  with  frequence  worne; 

And  what's  now  out  of  date,  who  is't  can  tell, 

But  it  may  come  in  fashion,  and  sute  well? 

With  rigour  therefore  judge  not,  but  with  reason,  15 

Since  what  you  read  was  fitted  to  that  season.  16 

FINIS. 


12  C.  "worn?" 


NOTES. 

Prologue  to  the  Stage.    Probably  written  at  time  of  first  presentation. 

Lines  2-14,  We'have  stands  for  "we've." 

Drammatis  Personae.  4.  The  Lord  Lacy.  There  is  no  such  character 
in  the  play,  as  we  have  it.  He  is  mentioned  only  in  the  first  stage 
direction.  See  Fleay's  suggestion  that  this  is  an  older  list  affixed 
unchanged  to  the  revised  play. 

11.  Margaret.  The  name  of  the  "Martialls  younger  Daughter," 
as  given  in  the  play,  is  Katherine,  as  Collier  notes.  Margaret  may 
have  arisen  from  a  hasty  glance  over  the  scenes  between  Katherine 
and  her  father,  where  "Mar."  is  used  for  Martial. 

3,5.  Corporall  Cocke.  The  Clowne.  Another  confusion  between 
this  list  and  the  play  itself.  In  the  play,  "Cocke"  is  the  same  person 
as  "The  Clowne,"  and  the  "Corporall"  has  no  other  name.  In  con- 
nection with  Match's  title,  Dilke  has  the  following  note:  "Lance- 
presado.  On  this  word,  occurring  in  the  'Maid  of  Honour,'  Mr.  Gilford 
quotes  the  following  from  the  'Souldier's  Accidence.'  'The  lowest  range 
and  meanest  officer  in  an  army  is  called  the  lancepresado  or  presado, 
who  is  the  leader  or  governor  of  half  a  file;  and  therefore  is  commonly 
called  a  middle  man  or  captain  over  four.'  " 

The  arrangement  of  the  Drammatis  Personae  is  somewhat  peculiar: 
it  is  hard  to  decide  whether  one  should  read  downward  or  across.  If 
downward,  the  position  of  the  Prince  is  certainly  unusual;  if  across, 
that  of  the  Lords  no  less  so.  Dilke  rearranges. 

ACT  I. 

13,  16.     Opposite.    Opposing.    Col.  notes  that  this  word  in  Elizabethan 
usage,  "means  the  hatred  of  opposites,  or  enemies." 

14.  Ingaged.     So    spelled   throughout,    and    most   other   words    now 
begun  with  "en — ."     This  is  one  of  the   small  number  of  incomplete 
lines  in  the  play. 

19.  Ey.     So    spelled   throughout.     There    is   no  need   to   change    it 
to  "Ay"  as  Collier  has  done.     The  word  appears  about   1575,  and  is 
especially  common  about  1600.     See  the  New  English  Dictionary,  and 
Col.'s  note  on  176. 

20.  Comptlesse.     A    frequent   form    for   countless.      Cf.    Venus    and 
Adonis,  84.    "And  one  sweet  kisse  shall  pay  this  comptlesse  debt." 

(137) 


138  The  Roy  all  King  and  the  Loyall  Subject. 

32-36.  The  oath  registered  by  the  King  in  these  lines  is  not  again 
referred  to,  or  heeded.  Lack  of  care  in  working  up  the  plot  has  made 
Heywood  forget  this,  which  was,  no  doubt,  intended  to  be  a  skillful 
anticipation.  Such  carelessness,  if  other  evidence  were  forthcoming, 
•would  perhaps  lend  color  to  the  theory  of  a  dual  authorship  for  this 
play. 

42.  "When  I  forget  thee.  Dilke  notes:  "If  I  forget  thee,  O 
Jerusalem,  let  my  right  hand  forget  her  cunning!'  Psalms."  Col., 
note:  "This  passage  is  quoted  by  Steevens,  in  a  note  on  Hamlet,  act  iii, 
sc.  2,  to  show  the  meaning  of  'operant'  is  active." 

48.     Then.     Frequently,  but  not  invariably,  used  for  than. 

52.  Jacobs  Stone.  Dilke  notes:  "This  is  fabulously  reported  to 
have  been  Jacob's  pillow:  it  was  brought  from  Scotland  by  King  Edward 
the  First,  and  deposited  in  Westminster,  where  it  may  still  be  seen 
under  the  coronation  chair." 

62.  Double  use.     Col.  "With  double  interest,  or  usance." 

63.  Clinton's   speech   is   of   course  aside.     No   asides   are  noted   in 
the  Quarto. 

74.  Full  light  or  none.  This  phrase  seems  to  be  a  favorite  with 
Heywood,  cf.  act  II,  279:  "Wee'le  be  sole,  or  none." 

87.  Revenues.  The  accent,  here,  and  in  general  through  the  play, 
is  on  the  second  syllable;  but,  in  line  57,  it  must  fall  on  the  first. 
Shakespeare's  usage  is  divided. 

103.  Enter  the  Clowne.  Evidently  a  street  scene.  The  "Welch-man 
appears  only  here.  The  scene  is  a  clumsy  introduction  of  uncorrelated 
material,  for  the  sake  of  comic  variety.  No  doubt,  this  "Welch-man 
owes  his  existence  to  the  popularity  of  Shakespeare's  portrayal  of  the 
type.  If  so,  he  perhaps  furnishes  an  additional  argument  for  the  early 
date  of  this  play.  A  number  of  verbal  likenesses  can  be  found  between 
this  play  and  the  Henry  IV  and  Henry  V  series,  but  none  sufficiently 
striking  to  warrant,  by  themselves,  the  assumption  that  Heywood  was 
intentionally  imitating  parts  of  those  plays. 

108.  Note    the    difference    in    spelling — Pauls    and    Powles     (117). 
This,   consistently   maintained   between    Clowne    and    Welch-man,   must 
indicate  an  intended  difference  in  pronunciation. 

109.  Rixam.     Dilke    notes:       "The    town     of     Wrexam    has    been 
remarked  by  Camden  as  noted  for  its  organ;  it  is  a  question  whether 
it  was  as  ancient  as  the  supposed  date  of  the  present  play."     Dilke,  be 
it  recalled,  has  attempted  to  place  the  action  of  the  play  in  the  reign 
of  an  actual  king  of  England,  and  hit  upon  that  of  Edward  I  as  the 
only  one  that  would  fulfill  all  the  conditions. 

120.  Pancridge.  Dilke  notes  that  Saint  Pancras  "is  still  called 
so  (Pancridge)  by  the  lower  classes." 


The  Roy  all  King  and  the  Loyall  Subject.          139 

121.  Leasings.  A  rare  word  at  this  time.  Cf.  New  English  Dic- 
tionary. 

131.     Red  Lettice.     Dilke  notes:     "i.  e.,  To  the  next  ale-house." 

135.  Rednock-shire.  Dilke:  "Brecknockshire,  or  Radnorshire, 
is,  I  suppose,  meant."  Rather,  it  is  probably  an  intentional  com- 
bination of  the  two  names. 

144.  Enter  the  king.  Perhaps  on  horseback,  or  at  least  obviously 
prepared  to  mount. 

152.  Mount,     mount.     Outside     the     metrical     scheme.       Professor 
Schelling    suggests    that    "mount"    may    possibly    have    been    a    stage- 
direction. 

153.  A   colon    or    semi-colon    is    necessary    before    or    after    "still." 
"Greater  and  greater:  still  no  plot,  no  trick"  seems  preferable. 

176.  Ey  and  hyperbolize.  Col.  "The  most  usual  mode  of  spelling 
'Ay/  in  our  old  dramatists,  is  by  the  letter  I,  used  as  an  interjection; 
but  Heywood's  printer  in  this  play  has  adopted  a  new  mode — Ey." 
Col.  was  mistaken;  see  above  2.  19. 

190.  Disgest.  Col.  "In  our  old  writers,  'disgest'  is  a  word  that  is 
often  used  for  digest.  It  occurs  among  others  in  Webster  and  Middleton, 
but  it  is  not  necessary  to  quote  the  passages."  Quoted  verbatim  in 
Pearson,  without  comment  or  quotation  marks. 

192.  Enter  Martiall.  The  scene  must  be  imagined  to  be  in  the 
wild  country  described  in  Painter's  story.  The  necessity  for  not 
bringing  the  horses  actually  upon  the  stage  is  well  provided  for. 

200.  Sirrah.     In     direct     address,     no     punctuation     precedes     the 
name  or  title.     If  the  sense  is  not  complete,   a   comma   follows.     A 
consistent  use  throughout  the  play.     Line  232,  and  a  few  others,  noted 
in  the  emendations,  are  exceptions. 

201.  Hollow    him    streight.     Col.    corrects    to    "follow"    and    notes; 
Misprinted,   in  the   old  copy,   "hollow  him   straight.' "     Dilke :      "The 
Quarto  reads  'Holloic  him  straight;'  but  it  can  scarcely  be  supposed 
that  the  Marshal  would  direct  his   servant  to   holla  to  the  King:    I 
have  therefore  presumed  on  the  alteration."     Pearson:      "Both   Dilke 
and  Collier  read  'Follow,'  on  the  assumption  that  'Hollow'  is  a  mis- 
print.    But  it  may  be  only  the  spelling  that  is  at  fault,  and  that  the 
Marshal   directs   his   servant  to   Tlolla'   or   cry   out   after  the   King." 
This  latter  is  the  proper  explanation,  as  reference  to  the  source  of  the 
story  shows.     This  is   one  of  the  cases  where  Heywood  has   adopted 
the  very  words  of  his  original.     Painter  reads:     "Wherefore  hallowing 
the  king, —  told  him  of  the  daunger  wherein  his  horse  was  for  lacke 
of  shoes." 

263.  The  place  where  Corporall  and  Cocke  meet  roust  be  con- 
ceived as  different  from  that  of  the  last  scene;  probably  a  street  of 
the  town. 


140  The  Royall  King  and  the  Loyall  Subject. 

168.  Burchen-lane.  Dilke:  "Birchin  Lane  seems  to  have  been  the 
Monmouth-street  of  that  age."  Col:  "Birchin  Lane  was  principally 
famous,  at  this  time,  for  shops  where  clothes  were  sold;  see  Cunning- 
ham's 'Handbook  of  London,'  p.  55,  2nd  edit.,  where  many  authorities 
on  the  point  are  collected."  Pearson  copies  and  adds:  "See  King 
Edward  IV,  Part  I."  The  line  referred  to  is,  "Birchin  lane  shall  suite 
us."  Cf.  act  III,  201,  of  the  present  play. 

272.  A  fresh  water-soldier.  Unpractised,  cf.  North,  Plutarch,  232. 
[The  storm]  "did  marvellously  trouble  them,  and  especially  those  that 
were  but  freshwater  souldiers." 

280.  Enter  Captaine.  Col.  "The  stage-direction  in  the  old  copy 
is  merely  'Enter  Captain,'  but  Captain  Bonville  is  intended."  Col. 
takes  great  pains  to  give  the  Captain  his  full  name  whenever  he 
appears.  There  is  no  other  Captain,  so  such  care  seems  unnecessary, 
especially  since  the  Quarto  names  him  Captaine  Bonvile  in  the  Dram- 
matis  Personae  only. 

290.  Noble.  Dilke.  "The  piece  of  money  so  called  was  first  coined 
by  Edward  the  Third." 

19.  299,  312.  These  speeches  of  the  Captain  give  the  reason  for  his 
failure  to  apply  directly  to  the  King  for  aid.  They  are,  like  several 
other  speeches  in  the  play,  directed  far  more  to  the  audience  than  to 
the  companions  of  the  speaker;  a  dramatic  fault  of  which  Heywood  is 
too  often  guilty.  Cf.  Act  III,  217. 

340.  Dazell  your  brightnesse.  A  rare  use  of  the  word,  in  the  sense 
of  outshine,  hence,  dim,  or  eclipse.  Cf.  Burroughes,  Exposition  of  Hosea, 
V,  243,  "They  can  see  into  the  beauty  of  his  wayes  so  that  it  dazeleth 
all  the  glory  of  the  world  in  their  eyes."  Shakespeare  uses  the  verb, 
but  not  in  this  sense.  V.  and  A.,  106,  LLL.  I,  1,  82. 

350.  See  Painter,  quoted  in  the  Introduction,  for  the  game  of 
chess,  the  tournament,  and  other  references  in  this  scene. 

358.  The  tournament,  mentioned  in  260,  as  about  to  take  place, 
must  be  presumed  to  have  occurred  in  the  interval  between  that  and 
the  present  scene. 

422,  423.  This  is  probably  one  of  the  couplets  altered  to  avoid 
rime.  422,  as  first  written,  probably  ended:  "had  I  done  so,"  Other 
such  altered  lines  are:  II,  513-514;  III,  497-498,  500-501;  IV,  394-395, 
396-397,  428-430,  508-509. 

428.  Col.  "Whither  wilt  thouf"  a  proverbial  expression,  occurring 
in  various  old  writers.  Steevens  quotes  the  passage  in  the  text  in  his 
note  upon  'As  Tou  Like  It,'  act  IV,  sc  I.  See  also  Dyce's  Middleton, 
III,  611."  "Wit,  whither  wilt  thou?"  was  rather  a  common  catch-word 
than  a  proverbial  expression.  P.  copies  Col. 

464.  Bombast  wealth.  Bombast  seems  to  have  been  used  quite 
commonly  in  the  various  constructions  of  noun,  verb,  or  adjective  as 


The  Royall  King  and  the  Loyall  Subject.          141 

here,  all  the  uses  of  this  sort  being,  of  course,  figurative.  Cf. 
Othello,  I,  i,  13.  "A  bombast  circumstance,  Horribly  stuft  with  epithets 
of  war." 

465.  The  purblind  world.  Half-blind.  Cf.  1  Henry  VI,  II,  iv,  21. 
"Any  purblind  eye  may  find  it  out." 

503.     Gull'd    with    shadotcs.    An    anticipation    of    Carlyle.      The 
Captain  was  a  man  after  Carlyle's  own  heart. 

525.  The  Porters  Lodge.  Dilke  quotes  Gifford's  note  from  The 
Duke  of  Millain,  "The  porter's  lodge,  in  our  author's  days,  when  the 
great  claimed  and  indeed,  frequently  exercised,  the  right  of  chastising 
their  servants,  was  the  usual  place  of  punishment."  P.  copies. 

Act  II. 

Line  1.  Scena  Secunda.  It  is  only  to  acts  I  and  II  that  the 
"scena"  is  added;  in  each  case,  the  numbering  being  the  same  as  that 
of  the  act.  This  is  the  more  remarkable  since  the  place  of  the  scene 
must  have  been  conceived  to  be  the  same  at  the  opening  of  this  act 
that  it  was  when  the  play  began,  a  room  in  the  palace. 

19.  Moneths.    A  common   spelling;    evidently   a   monosyllable.     Cf. 

IV,  294. 

20.  A   kind   husband.     This   speech   of  the  Princesse   is,   again,   an 
anticipation  of  the  action;  in  this  case,  actually  carried  out.     In  the 
same  way,   the  mention  of  the  MartialFs   daughters  prepares   us   for 
their  story. 

43.  This  man  for  me.  This  is,  of  course,  a  direct  quotation;  the 
marks  are  not  used  in  the  Quarto. 

46.  The  language  of  the  Princesse,  like  that  of  many  other 
noble  ladies  in  comedy,  is  frank,  if  not  rather  coarse,  throughout, 
with  the  exception  of  the  scene  immediately  following  on  her  marriage : 

V,  79,  ff. 

57.  Enter  Captaine.  The  entrance  of  the  Captain  at  this  point 
is  about  as  well  planned  dramatically  as  anything  in  the  play. 

62.  Termagaunt.  A  well-known  character  in  the  Miracle  Plays, 
rendered  more  familiar  to  moderns  by  the  reference  in  Hamlet,  III, 
ii,  12.  Cf.  also,  1  Henry  IV,  V,  iv,  114.  Dilke  notes  that  "Dr.  Percy 
conjectured  that  this  was  a  name  given  to  the  god  of  the  Saracens:  it 
should  have  been  added  that  Mr.  Gifford  is  of  a  contrary  opinion,  and 
supposes  it  to  have  been  an  attribute  of  the  supreme  being  of  the 
Saxons,  see  his  note  on  the  Renegado,  vol.  II,  p.  125."  Percy  is  sup- 
ported by  Nares  and  without  doubt,  his  is  the  correct  explanation. 

74.     No  more  of  the  cat  but  his  skin.     Dilke,  "A  common  proverb." 

86.  For  who  would  marry  with  a  suite  of  clothes?  Carlyle  again, 
or  Swift.  Both  exceeded  even  our  Captain  in  frankness  of  speech! 


142  The  Royall  King  and  the  Loyall  Subject. 

91.  Exit    (Captain).     The   very   abrupt   departure   of   the   Captain 
leaves  us  rather  out  of  breath.     Though  apparently  inartistic,  it  is  in 
keeping  with  the  character. 

92.  Here's   a   short    horse — Dilke:     "This    also   seems    a   proverbial 
expression,  implying  that  the  business  in  hand  has  been  soon  dispatched. 
It  is  found  in  'The  Valentinian,'  of  Beaumont  and  Fletcher,  where  the 
Emperor  and  his  Courtiers  are  playing  at  dice,  and  one  of  them,  having 
lost  his  money,  stakes  his  horse — 

Chi.   At  my  horse,  sir. 

Vol.  The  dappled  Spaniard? 

Chi.  He. 

Vol.    fThrowsJ  He's  mine. 

Chi.  He  is  so. 

Max.   Your  short  horse  is  soon  curried."    Copied  by  P. 

109.  Wee'le  move  the  King.  The  question  of  the  Prince,  and  his 
promise  to  speak  to  the  King  in  the  Captain's  behalf,  makes  the 
omission  of  any  such  scene,  or  reference  to  one,  even  more  peculiar 
than  if  the  King's  own  declaration  only  had  foreshadowed  it. 

145.  Those  only  we  appoint  to  icait.  i.  e.,  "Only  those  whom  we 
appoint  to  wait  need  attend  us." 

152.  I   shall   obey.     Cf.    the   different    servants'    speeches;    to    com- 
mands they  always  reply,  "I  shall." 

153.  What    are   we   king.     "What"    is    of    course    an    exclamation, 
cf.  177,  etc. 

157.  Us.  The  Martiall  uses  the  royal  first  person  plural  in 
several  instances,  cf.  act  II,  335,  444.  This  might,  it  seems,  be  used 
by  other  great  personages,  beside  royalty. 

164-165.  Here,  and  again  in  168,  there  is  a  curious  alternation 
in  the  use  of  "thou"  and  "you."  In  general,  the  usage  is  regular. 

183.     etc.     The  MartialPs  speeches  are  often  peculiarly  rich  in  rimes. 

216.  To  be  sole  his.  Sole  is  used  adverbially,  like  alone.  Cf. 
Shakes.  T.  and  C.  I,  iii,  244:  "But  what  the  repining  enemy 
commends 

That  breath  fame  blows;  that  praise,  sole  pure,  transcends." 

224.  This  Lord,  etc.  From  this  time,  until  the  last  scene,  Audley 
and  Bonvile  seem  to  be  friendly  to  the  Martiall. 

233.  7  shall  turn  man.  The  Martial  1's  outburst  of  wrath  is  much 
softened  in  the  play;  in  the  story,  he  is  quite  orientally  violent. 

240.  For  my  service.  Cf.  The  Loyal  Subject,  where  the  General's 
sen-ice  is  both  his  crime  and  his  defense. 

245.  A  dash  to  indicate  an  incomplete  line.  There  are  several 
others  not  so  indicated.  Whether  of  set  purpose  or  not,  line  171 
contains  exactly  the  four  lacking  syllables. 

254.     Are  not  your  fortunes,   favours   etc.     Is   this   two   questions: 


The  Royall  King  and  the  Loyall  Subject.          143 

"Are  not  your  fortunes,  favors?  Are  not  your  revenues  ours?"  or  one, 
"Are  not  your  fortunes,  your  favors  and  your  revenues  all  ours?" 
The  former  interpretation  seems  the  better  one. 

261.  It  sorrows  me.  For  "sorrows"  as  a  verb,  cf.  Guevara, 
Letters,  (trans.  Hellowes,  1577.)  "The  excesse  you  bled  is  grief  unto 
me;  the  ague  that  held  you  sorroweth  me." 

274.  The  King  has  worked  himself  into  a  rather  reasonless 
passion — or  else,  he  is  acting  to  deceive  his  courtiers.  It  is  such 
cases  as  this  that  show  a  certain  haziness  in  the  conception  of  the 
King's  character.  Heyvvood  wavers  between  Painter's  conception 
of  the  monarch  who  really  desires  vengeance  on  his  over-courteous  and 
over-ambitious  subject,  and  his  own  better  notion  of  the  King  who, 
seeing  through  his  courtiers'  plots,  lets  them  have  their  way  for  awhile, 
that  he  may  test  the  boasted  loyalty  of  his  favorite. 

281.  Phaeton.  In  view  of  Heywood's  work  with  classical  story, 
it  is  rather  surprising  that  he  should  employ  so  few  classical  allusions 
in  his  English  plays.  Another  proof  of  his  realism. 

289-291.  Clown.  The  repetition  of  Clown  is  of  course  unnecessary; 
it  is  due  to  the  interposition  of  the  stage-direction. 

294.  Here  take  my  cloake.  This  to  the  Clown;  the  remainder  of 
the  speech  is  evidently  to  the  Host. 

297.  To   Cranch.     Equivalent  to   "crunch."     Cf.   Massenger,   Empire 
of  the  East,  IV,  11.    "We  prune  the  orchards  and  you  cranch  the  fruit." 
After  1600,  the  word  became  varied  with  scranch.    See  N.  E.  D. 

298.  Feed  and  be  fat.    Cf.  2  Henry  IV,  II,  iv,  143 : 
"Then  feed,  and  be  fat,  my  fair  Calipolis." 

The  original  lines  are  in  the  Battle  of  Alcazar,  1594, 
"Feed  then,  and  faint  not,  my  fair  Calipolis,"  and 
"Feed  and  be  fat,  that  we  may  meet  the  foe." 

Dilke  notes  this  as  "A  burlesque  on  a  line  in  an  old  play,"  and  refers 
to  Steevens.  Col.  has  a  longer  note  to  the  same  effect,  copied  by  P.,  cf. 
The  Loyal  Subject  III,  2.  Dyce  ed.  of  Fletcher,  I,  932. 

299  ff.  Host.  The  Host's  speech  illustrates  Heywood's  apparent 
difficulty  with  prose.  "If  you  will  stand  at  gate,  when  dinner's  done," 
is  better  verse  than  some  of  his  more  pretentious  pentameters.  Again, 
in  the  Captain's  speech,  (302,  ff.)  it  is  hard  to  decide  whether  to  print 
as  prose  or  as  verse ;  Col.  does  the  latter : 

"Sirrah,  if  your  house  be  free  for  Gentlemen, 
It  is  ('tis)  fit  for  me;  thou  seest  I  keepe  my  man, 
I've  crownes  to  spend  with  him  that's  bravest  here; 
Fie  keepe  my  roome  in  spight  of  Silkes  and  Sattins." 

306.  Ragge-muffin.     Cf.  act  III,  277,  "raggamuffin."     1   Henry  IV, 
V,  3,  36.    "I  have  led  my  ragamuffins  where  they  are  peppered." 

307.  Enter    two    Gentlemen.     Evidently    talking    together.      These 


144  The  Eoyall  King  and  the  Loyall  Subject. 

men   have  nothing  to    do   with   the   plot    and   are    not   in   themselves 
interesting,  as  Shakespeare's  unnamed  characters  often  are. 

314.  I  did  when  he  was  flush.  Again  a  metrical  line  for  the  Host. 
For  "flush,"  cf.  "So  flush  of  money  and  so  bare  in  clothes."  Ill,  218. 
Flush  is  a  term  derived  from  the  game  of  primero.  Compare  its  modern 
use  in  games  of  cards.  Cf.,  also,  Dekker  Bachelor's  Banquet.  (1603), 
VIII,  G,  ii,  a.  "Some  dames  are  more  flush  in  crownes  than  her  good 
man." 

325.  What  tatter's  that.  Tatter,  probably  short  for  "Tatterde- 
malean,"  a  word  used  by  the  Host  in  311. 

338.  They  were  first  paid  for.  The  plural,  as  if  referring  back  to 
"clothes,"  though  suite  is  actually  the  word  that  precedes. 

340.  Have  you  mind  to  gamef  The  question  seems  rather  abrupt. 
After  the  Captain's  threat:  "Ha,  come!"  the  Gentlemen  must  have 
shrugged  and  turned  away;  so,  once  more  he  rouses  them  by  suggesting 
a  game. 

342.  Card  a  rest.  Equivalent  to  "set  up  a  rest,"  in  Primero, 
which  means:  to  stand  by  the  cards  one  has  in  one's  hand,  hence, 
figuratively,  to  determine,  to  make  up  one's  mind. 

350.  Bridewell  Ordinary.  The  prison,  of  course.  Cf.  Pasquil's 
Return,  (1589),  B,  iii,  6.  "The  stocke-keeper  of  the  Bridewel-house 
of  Canterburie." 

372.  Dinner.  This  ends  the  scene  of  the  Ordinary.  From  the 
first  lines,  one  would  judge  it  to  be  in  the  street  near  the  Inn.  From 
the  conclusion,  it  would  rather  appear  to  be  in  the  room  where  dinner 
was  to  be  served  with  a  stair  leading  down  into  the  street.  With  such 
simple  scenic  arrangements  as  the  Elizabethan  stage  boasted,  it  was 
easy  to  imagine  the  same  spot  several  places  in  succession.  Such  scenes 
would  need  radical  alteration  to  fit  them  for  presentation  on  a  modern 
stage. 

385.  Balling  suitors.  For  bawling.  The  word  bawl,  however 
spelled,  is  not  found  before  the  15th.  century.  Cf.  Stanyhurst,  Trans, 
of  Vergil,  (1583)  "Belcht  out  blasphemy,  bawling." 

388.  The  Falcon's  tower.  So  Col.,  but  "Tower"  may  here  be  a 
verb,  and  "Falcons"  the  plural  subject,  especially  since  we  have  "those 
that  aspire."  Cf.  Mcb.  II,  iv,  12.  "A  falcon  towering  in  her  pride  of 
place." 

400.  Ton  are  mine  owne  sweet  girles.  A  good  instance  of  Aristo- 
telian "dramatic  irony."  The  calm  content  of  the  Martial  heightens 
the  effect  of  the  coming  crisis. 

432.  Insult — upon.  To  exult  over.  Cf.  W.  Day,  Eng.  Secretary, 
II,  89.  "When  injuriously  we  insult  upon  a  man's  doings."  Shakes. 
Tit.  Ill,  ii,  71.  "I  will  insult  on  him." 

446.     My    fairest    daughter.     Dilke:      "It    is    singular    enough    that 


The  Royall  King  and  the  Loyall  Subject.          145 

the  King  does  not  send  for  his  "fairest  daughter,"  but  for  her  "he  loved 
best."  But  in  Painter,  it  is  the  fairest  that  is  demanded.  Heywood 
forgets  his  own  improvement  and  falls  back  upon  the  words  of  his 
source. 

449.  Of  force.  Perforce.  Cf.  LLL.  I,  i,  145.  "We  must  of  force 
dispense  with  this  decree.",  and  many  other  instances. 

477.  Her  whom  I  lest  affect.  Cf.  act  III,  137;  Twelfth  Night, 
II,  v,  28,  "Maria  once  told  me  she  did  affect  me." 

488.  None  of  my  daughters  have  been  seene.  Heywood  is  often 
led  astray  by  the  interposition  of  another  noun,  into  giving  singular 
subjects  a  plural  verb  or  vice  versa. 

504.  Cf.  Painter,  where  the  daughter  is  supposed  to  understand 
the  father's  plan. 

507.     And  thus  resolved.     For  "And  am  thus  resolved." 

536.  Commends.  Commendations.  Cf.  Rich.  II,  III,  i,  38,  "Tell  her 
I  send  to  her  my  kind  commends." 

Act  III. 

2.  Enter  Clowne.  Scene:  a  room  in  the  palace.  The  speeches 
between  the  Clown  and  Mary  serve  but  little  to  advance  the  plot, 
inasmuch  as  Mary  has  seen  the  Captain  and  given  him  her  faith.  They 
prepare  for  Audley's  entrance,  merely. 

6,  7.  Changeling,  shifter.  A  double  use,  applying  both  to  feelings 
and  to  clothes.  Cf.  1  Henry  IV,  V,  i,  76.  "Fickle  changelings  and  poor 
discontents." 

8.  Reparations.  Dilke:  "Possibly  as  an  astray,  wandering 
about,  and  by  grant  from  the  crown,  belonging  to  the  Lord  of  the 
Manor." 

37.  Affection.  One  of  the  few  instances  in  which  Heywood  counts 
-tion  as  two  syllables.  Perhaps,  this,  like  the  changed  couplets,  might 
be  considered  an  evidence  of  revision,  that  is,  a  survival  from  an  earlier 
version. 

39,  40.  Honest,  true.  The  meanings  of  these  words  seem  to  have 
been  reversed  in  modern  parlance.  Collier  notes :  "To  say  that  a  person 
was  not  'a  true  man'  was  the  same  as  to  call  him  a  thief;  and  the 
Clown  explains  it  by  saying  that  Captain  Bonville  had  sworn  to  steal 
the  Lady  Mary  away.  Innumerable  instances  show  the  opposition 
between  the  words  'true  man'  and  'thief'." 

47,  53.  Ergo,  Utcunque  volumus.  The  clown  seems  to  be  the  only 
person  to  use  tags  of  Latin;  a  mild  satire  on  pedants. 

57.  Wots  thou,  for  "wot'st."  Cf.  Antony  and  Cleopatra,  I,  v,  22. 
"Wot'st  thou  whom  thou  movestf 

58.  Scare-crow.      Cf.  I  Henry     IV,     IV,  ii,     41.       "No     eye  hath 


146  The  Roy  all  King  and  the  Loyall  Subject. 

seen    such    scarecrows."        There    is    an    interesting    parallel    to    this 
passage  in  Fletcher's  Captain,  II,  2,  where  the  friends  of  another  noble 
Lady,  enamoured  of  another  ragged,  impecunious  Captain,  say — 
"I  think  she  was  bewitched,  or  mad,  or  blind, 
She  would  never  have  taken  such  a  scarecrow  else 
Into  protection." 

The  resemblance  is  probably  accidental.  There  is  not  sufficient 
evidence  to  prove  that  Fletcher  borrowed  his  notion  of  the  Captain  from 
Heywood,  or  Heywood  from  Fletcher.  The  latter's  hero  is  a  much 
coarser  and  weaker  character  than  Captain  Bonvile. 

65.     Unless  he  be.     ftot  unless  he  be. 

76.     Deare.     Used  in  a  double  sense,  beloved  and  valued. 

91.  Doe  not  like  your  Highnesse.  Cf.  Lear,  I,  i,  203.  "If  all  of  it 
may  fitly  like  your  Grace."  A  common  use  in  the  sense  of  please. 

94.  Streightly.  Straitly,  strictly.  Cf.  Rich.  Ill,  I,  i,  85.  "His 
majesty  hath  straitly  given  in  charge." 

105.  Chus'd.  Cf.  Heywood,  Gunaikeion  III,  143.  "She  chused  one 
who  seemed  to  excel  all  the  rest." 

108.  To    make    or    mar.     Dilke,    rather    pointlessly;    "It    has    been 
observed  by  Stevens  that  make  and  mar  are  always  placed  in  opposition 
to  each  other  by  our  ancient  writers." 

109.  It   glads   me.     Cf.   Spenser,   Colin  Clout,  266,   "At   length   we 
land  far  off  descryde,  Which  sight  much  gladded  me." 

114.  Honest.  We  should  expect  the  noun,  honesty,  in  apposition 
with  "one  free  attribute." 

121.  Wee'le  strive,  etc.  A  case  of  two  extra  syllables  at  the  end 
of  the  line,  rare  in  Heywood. 

136.     We  should  distaste.    Cf.  Drayton,  Legends,  III,  607. 
"Who  was  so  dull  that  did  not  then  distaste 
That  thus  the  King  his  Nobles  should  neglect." 

140.  Were  she  not.  This  line  is  incomplete  both  at  the  beginning 
and  at  the  end;  as  if  the  poet,  in  running  his  metre  from  half-line  to 
half-line,  in  the  broken  speeches  above,  had,  at  last,  lost  count.  See  I, 
435ff.  Of  course,  it  is  always  possible  to  explain  such  irregularities 
by  an  incomplete  revision  of  older  material,  lines,  or  parts  of  lines 
added  or  omitted,  and  not  carefully  fitted  to  the  metrical  scheme;  it 
is  noticeable,  however,  that  the  irregularities  in  this  play  occur  most 
frequently  where  the  lines  have  been  broken  up  into  short  speeches. 

158.  If  the  King  daine.  A  confusion  between  direct  and  indirect 
discourse,  no  doubt  intentional. 

165.  And  his  alliance  scorns  not  to  disdaine.  Unless  "disdaine" 
is  a  noun,  and  the  phrase  means  "to  the  point  of  disdain,"  the  servant 
here  says  the  opposite  of  what  he  intends  to  convey  to  the  King.  One 
would  expect  some  such  words  as  "And  his  alliance  scorns  not  to 
accept." 


The  Royall  King  and  the  Loyall  Subject.          147 

167,  168.  This  emulation — questions  him  of  life:  i.  e.,  puts  his  life 
in  question.  Cf.  act  V,  255:  "That  we  now  Not  question  of  his  life." 
The  two  uses  are  somewhat  different.  Cf.,  Suckling,  Goblins,  V,  58. 
"Behold  (grave  Lord)  the  man  whose  death  questioned  the  life  of 
these."  3  Henry  VI,  III,  ii,  123:  "Goe  wee  to  the  man  that  tooke  him 
To  question  of  his  apprehension." 

193.     Sent.     For  Scent. 

196.  Of  that  side.  Not  unusual  for  "on  that  side."  See  Abbot, 
Shakes.  Grammar,  p.  175. 

198.  Blocke  us.  Dilke:  "A  block,  as  has  been  observed  by  Steevens, 
is  a  mould  on  which  a  hat  is  formed,  but  it  is  commonly  enough  used 
by  our  ancient  writers  for  the  hat  itself.  See  notes  on  act  IV  of  Lear.- 
A  hat  of  a  new  block  is  a  hat  of  a  new  style. 

201.    Burchin-lane.    See  note  on  I,  258. 

215.  Cockatrice,  a  wanton.  Cf.  Fletcher,  Love's  Cure,  III,  iv,  "I'll 
show  him  and  his  cockatrice  together." 

251.  And  please  you.    For  "An' t  please  you." 

252.  Reversions.     Dilke:      "What   is    meant   by   'reversions,'   unless 
it  be  broken  victuals,  I  cannot  say." 

255.  Kitchinstuffes.  Contemptuously  used  of  persons;  literally, 
waste  products  of  the  kitchen.  Cf.  Middleton,  Trick  to  Catch  an  Old 
One,  III,  iv:  "Thou  Kitchenstuff,  drab  of  beggary,"  etc.  B.  Googe, 
Heresbach's  Husb.,  904:  "All  those  that  smell  of  grease  or  kitchen- 
stuff  e." 

257.  A  standing  bed  in't  and  a  truckle  too.  Col. :  "Steevens  quoted 
this  passage  in  illustration  of  'his  standing  bed  and  his  truckle  bed'  in 
Merry  Wives  of  Windsor,  act  iv,  scene  5."  P.  copies.  The  truckle  bed, 
American,  trundle-bed,  was  slid  under  the  standing  bed  when  not  in  use. 

262.     It'ch.     Evidently  a  printer's  error,  since  there  is  no  contraction. 

293.  Without  trusting.  The  meaning  is  obscure;  urging  would 
perhaps  be  consistent  with  the  foregoing. 

299.  Old  bully  bottom.  Col.  "An  expression  adopted,  possibly, 
from  Midsummer  Night's  Dream,  act  iii,  sc.  1,  and  differently  applied." 
P.  copies.  But  such  an  expression  was  probably  never  borrowed 
definitely  from  one  source. 

339.  Of  my  tally.     Another  case  of  "of"  for  "on."    Cf.  196  above. 

340.  Enter    Captaine.     At   322,    Cap.    is   said   to   enter   with    Bawd 
and  Clown;  either  he  is  supposed  to  have  passed  out,  or  his  entry  here 
is  a  mistake:    probably  the  latter,  the  repetition  arising  from  his  not 
having  spoken  until  now,  when  he  pushes  himself  into  attention.     D. 
and  C.  omit  his  entrance  in  322. 

348.  Will  you  get  you  out  of  my  doores.  P.  notes :  "  'Scold'  is  the 
reading  of  the  original  quarto  and  of  the  Shakespeare  Society's  edition. 
I  am  inclined,  however,  to  think  that  Mr.  Dilke  is  undoubtedly  right 


148  The  Royall  King  and  the  Loyall  Subject. 

in  reading  'scald,'  both  from  the  nature  of  the  Clown's  reply,  and 
from  the  fact  that  Bawd  has  already  threatened  the  Captain  and  his 
servant  to  'wash  them  hence  with  hot  scalding  water,'  when  the  Clown 
makes  a  similar  play  upon  the  word.  I  have  not  ventured,  indeed,  to 
adopt  the  emendation:  but  any  reader  who  is  convinced  of  its  necessity 
can  easily  alter  the  o  into  a  with  his  pen. 

As  an  instance  of  the  looseness  and  inaccuracy  of  previous  reprints 
of  Heywood's  plays,  I  may  mention  that  in  the  passage  cited  above, 
Dilke  prints,  'Will  you  out  of  my  doors,'  and  Collier,  'Will  you 
get  out  of  my  doors;'  the  latter  omitting  one  and  the  former  two 
words  of  the  text."  This  note  is  the  only  original  critical  matter 
contributed  to  the  comment  on  the  play  by  the  editor  of  the  Pearson 
edition. 

353.  Bruitists.  Those  who  regard  or  treat  men  as  brutes.  "The 
bruitists  who  prefer  the  Bruits,  yea,  the  wildest,  before  men."  Baxter 
Catholic  Commonwealth,  Preface. 

359.  Marry  farewell  frost.  Col.:  "This  expression  is  proverbial,  and 
is  alluded  to  in  the  Merchant  of  Venice,  II.  7,  where  the  Prince  of 
Morocco  exclaims — 

'  Cold  indeed,  and  labour  lost: 

Then,  farewell,  heat,  and  welcome,  frost.' 

362.  Goe  you  then.  Col.:  "The  terms  'oars'  and  'sculls'  were 
as  well  understood  in  Heywood's  time  as  in  our  own,  and  the  Clown 
here  plays  upon  them."  P.  copies.  "Oars"  equalled  going  in  a  private 
carriage;  "sculls,"  in  a  hackney  coach,  or  as  we  might  say,  in  a  street- 
car; the  application  of  the  Clown  is,  then,  entirely  appropriate.  (Prof. 
Schelling. ) 

395.     Spittle.     Hospital.     Cf.  Henry  V,  II,  i,  78:     "No;  to  the  spital 
go."    Massinger,  Picture,  IV,  2. 
"He  is 

A  spittle  of  diseases  and  indeed 
More  loathsome  and  infectious." 
Hospital  had  a  much  broader  sense  in  Heywood's  time  than  in  our  own. 

400.  With  the  French  Fly,  with  the  Serpigo  dry'd.  Col.:  "The 
disease  here  alluded  to  was  often  imputed  to  the  French:  respecting 
the  'dry  serpigo,'  see  Steeven's  note  to  Troilus  and  Cressida,  act  II, 
sc.  3."  Cf.  Dilke,  note  on  "sarpigo:"  "This  word  is  found  in  the 
Measure  for  Measure  and  Troilus  and  Cressida  of  Shakespeare,  and  is 
explained  by  Stevens  to  be  a  kind  of  tetter." 

404-408.  Cf.  Lyly,  Campaspe,  Act  IV,  Sc.  I.  "Did  I  not  see  thee 
come  out  of  a  brothell  house?  was  it  not  a  shame?  Diogenes.  It  was 
no  shame  to  goe  out,  but  a  shame  to  goe  in." 

415.  Which  did  they  own  our  thoughts.  The  construction  is 
obscure.  The  meaning  may  be  paraphrased  thus:  Many,  who  now  go 


The  Royall  King  and  the  Loyall  Subject.          149 

ragged,  would  change,  to  shine  as  we  shall,  if  their  thoughts  (i.  e., 
opinions)  were  like  ours. 

416.  Though  you  think  it  strange.  A  reference  to  the  Cap's  real 
wealth  and  intended  for  the  audience. 

429.  Leave  me  and  leave  me  ever.  The  Cap.  evidently  means  that 
if  Cock  leaves  him  now,  he  may  not  return  to  his  service. 

422.  Think  the  Plagues  cross.  Dilke:  "In  the  Ordinances  of 
Elizabeth  reprinted  by  King  James  in  1603,  relating  to  the  plague,  it 
is  directed  that  'some  speciall  marke  shall  be  made  and  fixed  to  the 
doores  of  infected  houses,  and  where  such  houses  shall  be  innes  or 
ale-houses,  the  signes  shall  be  taken  downe  for  the  time  of  the  restraint 
(t.  e.,  six  weeks)  and  some  crosse  or  other  marke  set  upon  the  place 
thereof,  to  be  a  token  of  the  sicknesse.' "  Col. :  "The  placing  of  a  cross 
upon  the  doors  of  houses,  the  inhabitants  of  which  were  infected  with 
the  plague,  is  alluded  to  by  various  old  writers:  it  was  often  accom- 
panied with  the  words,  'Lord,  have  mercy  upon  us,' "  P.  copies.  See 
further,  Nash's  poem,  "Death's  Summons,"  and  Professor  Schilling's 
note  upon  it,  in  Elizabethan  Lyrics,  p.  52,  235. 

432.  I  am  sure  there  was  never  man  yet.  Dilke:  "The  bawd 
may  be  more  correct  in  this  than  she  imagined.  In  those  times  of 
dreadful  mortality,  when  persons  not  infrequently  expired  without 
assistance  in  the  streets,  'Lord  have  mercy  upon  us,'  was  naturally 
enough  in  the  mouths  of  every  one  of  the  dying  persons,  and  of  those 
who  accidentally  approached  them.  When  the  Captain  tells  Cock  that 
the  Plague's  cross  is  set  upon  the  house  he  had  just  quitted,  the  latter 
says,  'Then  Lord  have  mercy  upon  us!  where  have  we  been?'  And  the 
Bawd  alludes  here  only  to  the  Captain's  charge." 

434.  Nay  will  you  goef  Col.  "This  scene  is  extremely  gross, 
but  it  shows  the  manners  of  the  time;  and  it  is  not  so  much  so  as  many 
portions  of  Beaumont  and  Fletcher's  plays,  and  those  of  other  drama- 
tists, which  do  not  convey  a  moral  so  admirable  and  forcible.  Heywood's 
laudable  object  was  to  disgust,  not  to  excite."  P.  copies  with  a  few 
changes. 

462.  And  spite  opposure.  i.  e.,  opposition.  Cf.  Heywood,  Golden 
Age,  III,  "Wee'l  stand  their  fierce  opposure."  Chapman,  Odyss.  xi,  127 : 
"Neptune  still  will  his  opposure  try." 

487.  As  knowing  one.  The  Queen's  praise  of  her  sister  is  quite 
in  the  sonnet  vein,  with  all  the  conventional  hyperbole.  The  lyric 
quality  is  enhanced  by  the  couplet  form  of  the  entire  speech. 

504.  He  keeps  her.  The  Queen  exaggerates  to  annoy  the  King, 
as  if  she  knew  the  Martiall's  plan  of  which  she  is  supposed  to  be 
ignorant.  Here  again,  Heywood  is  too  close  to  his  source. 

523.  His  tother  daughter.  "Tother"  is  colloquial  for  "the  other," 
and  even  for  "other."  Cf.  IV,  207. 


150  The  Roy  all  King  and  the  Loyall  Subject. 

Act  IV. 

3.  I  see  the  King.  These  speeches  between  the  Martiall  and 
Katherine  are  so  placed  as  to  heighten  the  effect  of  the  catastrophe 
about  to  come  upon  them,  as  the  audience  knows.  Cf.  act  II,  380. 

5.  To  queen  my  child.  Apparently  a  unique  use  of  the  verb  in 
the  sense  of  "to  make  queen."  The  New  Eng.  Diet,  gives  no  example 
earlier  than  the  nineteenth  century.  For  the  common  use  see  above  II, 
133:  "And  rather  than  to  Queene  it  where  I  hate,  Begge  where  I  love." 

36.  Opposite.  Cf.  I,  15.  2  Henry  VI,  III,  ii,  251:  "Free  from 
a  stubborn  opposite  intent." 

38.  More  tempest  towards.  "Towards"  is  accented  on  the  first 
syllable.  Cf.  II,  94:  "I  had  need  wish  you  much  joy  for  I  see  but 
a  little  towards."  In  both  cases,  the  word  is  clearly  equivalent  to 
"in  prospect." 

41.  Royall  life.  This  exaggerated  adjective  corresponds  with  the 
MartialFs  use  of  "we." 

51-52.  Mar.  We  should  expect  a  couplet  here,  were  Heywood's 
use  of  rime  nearly  so  consistent  as  that  of  Shakespeare. 

133-134.  It  is  my  purpose.  The  Martiall's  declaration  rather 
detracts  from  his  attitude  as  a  faithful  servant  suffering  under 
injustice. 

137.  Feare.  i.  e.,  frighten.  Cf.  3  Henry  VI,  V,  ii,  2:  "Warwicke 
was  a  Bugge  that  fear'd  us  all."  A  comparatively  common  use  in 
Shakespeare. 

169.  God-a-mercy  horse.  Col.  "A  proverbial  exclamation.  See 
'Tarlton's  Jests,'  printed  by  the  Shakespeare  Society  in  1844,  p.  23." 
P.  copies. 

180.  The  end  of  the  Towne.  Cf.  1  Henry  IV,  V,  iii,  37:  "And 
they  are  for  the  town's  end,  to  beg  during  life." 

195.  At  some  out  end  of  the  Citty.  Dilke:  "The  Clown  had 
before  recommended  them  to  betake  themselves  'to  the  end  of  the  town,' 
and  Falstaff  tells  us  that  the  three  of  his  ragged  company  who  were 
left  at  the  battle  of  Shrewsbury,  were  for  the  town's  end  to  beg  during 
life." 

191,  197.  Compare  Lyly,  Campaspe.  Act  III,  Sc.  4.  "Diog.  He 
made  thee  a  beggar,  that  first  gave  thee  any  thing." 

208.  No  congie  then.  Congie,  a  ceremonious  dismissal  and  leave- 
taking.  Cf.  Marston,  Scourge  of  Villanie,  III,  xi,  234:  "I  take  a 
solemn  congie  of  this  fustic  world."  With  slightly  different  meaning, 
Marlowe,  Edward  II,  V,  iv:  "With  a  lowly  conge  to  the  ground,  The 
proudest  lords  salute  me  as  I  passe." 


The  Roy  all  King  and  the  Loyall  Subject.  151 

224.     Silken  Unkle.     Cf .  II,  328,  King  John,  V,  i,  70 : 
"Shall  a  beardless  boy 

A  cockered  silken  wanton,  brave  our  fields, 
And  flesh  his  spirit  in  a  warlike  soil  ?" 

245.     Onely  thy  heart,    i.  e.,   "thy  heart  alone." 

338.  You  shall  my  Lord.  There  is  a  loss  of  connection  between 
these  words  and  those  that  they  are  supposed  to  answer.  A  half-line 
may  have  been  omitted  in  the  printing. 

364.  Compleate.  The  word  expresses  high  praise.  Shakespeare 
uses  it  in  several  significations,  bu€  oftenest,  perhaps,  to  mean  "perfect," 
as  here.  Cf.  LLL.  I,  i,  137 :  "A  maid  of  grace  and  complete  majesty." 
I,  ii,  47:  "A  complete  man."  Cf.  above  III,  139:  "A  more  compleate 
Virgin."  The  accent,  as  in  these  examples,  regularly  falls  on  the  first 
syllable  when  the  word  precedes  a  noun,  on  the  last,  when  it  is  used 
as  predicate. 

394.  This  must  not  hold.  Col.:  "From  the  number  of  rhyming 
lines  in  this  play,  we  may  perhaps  suspect  an  error  here,  and  that 
Heywood  intended  a  couplet: 

'This  must  not  hold:    prevention  out  of  hand: 
For  if  the  Marshal  rise,  not  long  we  stand.' 

Possibly,  however,  the  poet  purposely  meant  to  avoid  the  jingle:  the 
same  remark  will  apply  to  what  immediately  follows  between  Clinton 
and  Chester: 

'Our  wits  must  then  to  work — of  force  they  must: 
This  is  not  that  to  which  our  fortunes  trust.' 

In  printing  the  play,  in  1637,  the  author  may  have  introduced  the 
change,  in  order  to  give  it  a  more  modern  appearance,  and  to  expunge 
rhymes  which,  at  the  time  the  drama  was  originally  acted,  were 
acceptable."  P.  copies.  See  above. 

408.     Happily.     For  "haply,"  as  often. 

437.  Force  perforce.  See  II,  449.  Cf.  2  Henry  IV,  IV,  i,  116; 
"Was  force  perforce  compelled  to  banish  him.",  also  IV,  iv,  46.  Col.: 
"An  expression  hardly  requiring  a  note,  since  it  frequently  occurs  in 
Shakespeare."  Gives  the  above  references.  P.  copies. 

465.     What  have  we  here?     The  King  opens  the  cradle. 

497.  Gee't  o're.  This  contraction  is  used  again  in  531.  For  "give 
over,"  Cf.  M  or  M.,  II,  ii,  43.  "Give  it  not  over  so." 

507.  ff.  Thy  King,  etc.  This  ringing  of  the  changes  on  the 
complex  relationships  so  recently  established  seems  to  us  unpoetical 
and  undignified.  The  poet,  however,  evidently  enjoyed  it,  for,  see  act 
V,  359  ff.,  for  an  even  more  tedious  rehearsal. 

519.  To  stay.  i.  e.,  To  wait  for  another  chance  to  wed,  or,  to  stay 
maids. 

526.     Cock.     Cock  acts  as  "Epilogue"  to  this  act.     Were  it  not  for 


152  The  Roy  all  King  and  the  Loyall  Subject. 

the  version  of  Painter,  we  might  almost  think  the  play  had  originally 
ended  with  this  scene,  and  that  act  V  was  tacked  on  as  an  afterthought, 
so  slight  is  its  logical  and  dramatic  connection  with  what  precedes. 

535.  Bandileero.  Dilke:  "The  bandileer  was  a  leathern  belt 
worn  by  the  musketeers  over  the  left  shoulder,  to  which  was  suspended 
a  bullet  l>ag,  a  primer,  a  priming-wire,  and  ten  or  twelve  small  boxes 
each  containing  a  charge  of  powder."  P.  copies. 

538.  Pickadevant.     Dilke:       "This     expression     is     found     in     the 
'Midas'  of  Lyly  and  seems  to  have  been  the  affected  term  for  the  beard 
when  so  dressed  as  to  taper  to  a  point,  or  what  the  courtly  barber 
there  calls  a   bodken  beard."     The  reference  is   to   the   Midas,   V,   2, 
(Nares)  :    "And  here  I  vow  by  my  concealed  beard,  if  ever  it  chance 
to  be  discovered  to  the  world,  that  it  may  make  a  pike-devant — I  will 
have  it  so  sharp  pointed  that  it  shall  slap  Motto  like  a  poynado."  P. 
copies. 

539.  Provant.     Col.:     i.    e.,    our    provision — what    was     provided 
for  soldiers  in  the  way  of  food,  and  sometimes  clothing  and  arms:     thus 
in  old  authors,  we  read  of  'provant  breeches'  and  'provant  swords.'" 
P.  copies.     Cf.  Fletcher,  Love's  Cure,  II,  i,  "I  say  unto  thee  one  pease 
was  a  soldier's  provant  a  whole  day,  at  the  destruction  of  Jerusalem." 

Act  V. 

16.  Basses.  Bases.  The  metaphor  is  from  architecture,  yet  confused 
with  the  idea  of  tree  or  plant  growth.  Cf.  Shakespeare,  Sonnets, 
125,  3:  "Laid  great  bases  for  eternity." 

31.  Doth  our  sports  distaste  you.  It  is  rarer  to  find  a  singular 
verb  with  a  plural  subject,  than  such  an  instance  as  that  in  II,  488. 

35.  My  Lord,  you  take  his  place.  We  may  conjecture  that  this 
was  addressed  to  Chester,  who  has  so  often  taken  the  Martiall's  place 
elsewhere. 

57.  It  quakes  my  body.  A  rather  rare  use.  Cf.  Heywood  London's 
Peace  Established,  Works,  V,  372:  "Cannon  quaking  the  bellowing 
Ayres."  Coriolanus,  I,  ix.  6;  "Where  ladies  shall  be  frighted,  and 
gladly  quaked,  hear  more." 

115.  Enter  Clinton.  This  is  the  only  stage-direction  in  the  play 
in  which  the  place  of  the  action  is  indicated — and  here  it  hardly  seems 
correct.  Chester's  study  seems  a  strange  place  for  the  meeting  of  the 
Prince  and  Princess  Katherine,  after  their  morning  stroll;  and  a  still 
stranger  for  the  establishment  of  a  court  of  justice,  yet  the  scene  is 
continuous. 

161.  Merchandize.  Cf.  Shakespeare,  Sonn.  102,  3.  "That  love  is 
merchandized  whose  rich  esteeming  The  owner's  tongue  doth  publish 
everywhere." 


The  Roy  all  King  and  the  Loyall  Subject.  153 

163.  Force  us  sell  her.  Common  Elizabethan  omission  of  the 
infinitive  particle,  to. 

167.  Shadow.  The  figures  of  light  and  shade  are  used  over  and 
over  in  relation  to  the  Martiall  and  his  position.  Cf.  I,  66,  79,  329, 
ff.  V,  125,  231,  ff. 

173.     Of  his  contempt  and  scorn,     i.  e.,  for  his  contempt  and  scorn. 

175.  From  his  bed.  The  despotic  method  of  the  King  in  ordering 
justice  is  rather  oriental  than  English,  and  is  one  of  the  instances  in 
which  Heywood  has  followed  his  original  too  closely,  without  the 
necessary  adaptation  to  its  new  surroundings.  Nay,  he  is  more  Persian 
than  the  Persians,  themselves.  See  Painter,  in  the  Introduction. 

211.  A  Barre  set  out.  The  lines  prevent  us  from  considering 
this  a  new  scene.  The  "Barre"  is  "set  out"  while  the  King  and  his 
retinue  remain  on  the  stage. 

216.  Daunt  our  innocence.  The  Martiall's  regal  mind  again 
expresses  itself  in  the  kingly  plural,  as  in  II,  157,  414. 

219.  Conster.  A  common  form  for  "construe"  with  the  accent  on 
the  first  syllable.  Cf.  Two  Gentlemen  of  Verona  I,  ii,  56:  "Which  they 
would  have  the  proffer  conster  ay." 

233.  Conferr'd.  Dilke:  "Compared.  The  word  frequently  occurs 
in  this  sense  in  the  old  writers." 

283.  Lord.     A     verb,     of    course;     Dilke    misunderstands     it.       Cf. 
2  Henry  VI,  IV,  viii,  47 :    "I  see  them  lording  it  in  London  streets." 

284.  Wive.     Cf.   Othello,   III,  iv,   64:      "When  my   fate   would  have 
me  wive." 

287.     That  ludge  above  you.    God,  not  the  King.    D.  reads  "judge." 

293.  Score  you  on.  i.  e.,  "run  into  debt  as  much  as  you  will."  Cf. 
Heywood,  Fair  Maid  of  the  West,  ed.  Pearson,  II,  275:  "It  is  the  com- 
monest thing  that  can  be  for  these  Captaines  to  score  and  to  score, 
but  when  the  scores  are  to  be  paid  non  est  inventus."  See  above,  III, 
338. 

298.  The  great  Sophy.  Shah  of  Persia.  Cf.  Painter,  in  the 
Introduction,  for  the  story. 

301.     Leaves.     The  subject  is  omitted:   "she  leaves  her  first  game." 

308.  Made  him  no  less.  Somewhat  obscure;  probably:  "the 
Emperor  made  himself  no  less  than  peerless,"  by  his  action  in  the 
matter.  Dilke  changes  "him"  to  "her,"  and  so  refers  the  pronoun  to 
the  bird;  but  this  is  not  necessary. 

321.  Hospitall.  Col.  "Hospital  for  hospitable." — an  ordinary  con- 
traction. 

327.  Irrevocable.  Cf.  the  King's  promise  in  the  first  scene,  I 
32-36,  and  his  final  action  in  revoking  this  "irrevocable"  sentence. 

332.  Grant  me  but  a  grave.  Cf.  Rich.  II,  III,  iii,  153:  "I'll 
give" — "My  large  kingdom  for  a  little  grave,  A  little,  little  grave,  an 
obscure  grave." 


154  The  Eoyall  King  and  the  Loyall  Subject. 

352.  The  next  I  give,  it  is  my  Soule  to  Heaven.  The  ordinary 
conclusion  of  the  wills  of  the  day. 

359.  Heare  me,  etc.  Dilke:  "Our  poet  (or  his  auditory)  seems 
to  have  been  much  pleased  with  these  riddling  distinctions,  if  we  may 
be  allowed  to  judge  by  the  various  forms  in  which  the  same  idea  is 
introduced  and  repeated.  The  passage  may  remind  the  reader  of  the 
riddle  in  Pericles;  but,  on  the  whole,  it  seems  to  have  been  better 
calculated  for  publication  in  the  Lady's  Diary  than  for  so  serious  a 
scene  as  the  present  was  intended  to  be." 

382.  A  Traytor's  he.  It  is  really  difficult  to  decide  whether  the 
King  has  been  waiting  for  this  moment  through  the  year  of  the 
MartialFs  trials,  or  whether  he  actually  turns  a  mental  summersault 
and  reverses  his  opinions  in  the  twinkling  of  an  eye.  The  Emperor's 
attitude  in  the  story  is  better  motived.  Heywood's  difficulty  arises, 
at  least  in  part,  from  too  hasty  abridgement  of  the  action  in  the  final 
scenes. 

395.     Confine    it    hence.     Col.:       "This    use    of    the    word    'confine' 
is  peculiar."     I  do  not  find  it  particularly  so;   it  is  a  fairly  common 
Elizabethan  equivalent  for  "banish."  Cf .  Heywood  Gunaikeion,  IV.  207 : 
"Alcippus  intended  to  abrogate — their  laws,  for  which  he  was  confind 
from  Sparta."    Hamlet,  III,  i,  194:     "To  England  send  him,  or  confine 
him   where  your  wisdom  best   shall   think."     Dilke:     "It    (    the   word 
confine)  occurs  in  the  same  sense  in  Appius  and  Virginia."     Webster's 
Appius  and  Virginia,  V,  iii;  Hazlitt's  Webster,  Vol.  Ill,  p.  221. 
"Redeem  a  base  life  with  a  noble  death 
And  through  your  lust-burnt  veins  confine  your  breath." 

The  Epilogue  to  the  Reader.  Col.:  "The  Prologue  was  'to  the  Stage,' 
but  this  Epilogue  was,  of  course,  not  recited,  but  intended  as  an  excuse 
for  the  revival  of  an  old  play,  by  the  publication  of  it.  Among  other 
points,  it  refers  to  the  period  when  rhyme  was  mainly  in  request  with 
audiences,  and  they  (sic)  are  abundantly  sprinkled  throughout  the 
different  scenes."  Copied  in  Pearson,  but  with  the  correction  of  "rhyme 
was"  to  "rhymes  were." 


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